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1 


https://archive.org/details/howtopaintcompleOOgard_O 


HOW  TO  PAINT. 


A  COMPLETE  COMPENDIUM  OP 

THE  ART. 

DESIGNED  POR  THE  USE  OP  THE  TRADESMAN,  MECHANIC, 

Merchant,  and  parmer, 

AND  TO  GUIDE  THE  PROFESSIONAL  PAINTER. 

CONTAINING 

A  PLAIN  COMMON-SENSE  STATEMENT  OP  THE'  METHODS 
EMPLOYED  BY  PAINTERS  TO  PRODUCE 
SATISFACTORY  RESULTS 

IN 

PLAIN  AND  FANCY  PARTING 

OF  EVERY  DESCRIPTION, 

INCLUDING 

GILDING,  BRONZING,  STAINING,  GRAINING,  MARBLING, 
YARNISHING,  POLISHING,  KALSOMINING, 
PAPER-HANGING, 

Utrigiug,  loitering,  dogging,  auiJ  (Dranramting. 

WITH  FORMULAS  FOB  MIXING  FAINT  IN  OIL  OB  WATER  ;  DESCRIP¬ 
TIONS  CF  THE  VARIOUS  PIGMENTS  USED,  THEEB 
AVERAGE  COST,  AND  THE  TOOLS  REQUIRED. 

BY  F.  B.  GARDNER. 

Author  of  “  The  Carriage  Painter’s  Manual.” 

ISTTS’W'-^TOJRK:. : 

SAMUEL  E.  WELLS,  PUBLISHES, 

No.  389  Beoadway, 

1874 


Entered  according  to  Act  of  Congress,  in  the  year  1872,  by 
SAMUEL  R.  WELLS, 

In  the  Office  of  the  librarian  of  pongress,  at  Washington, 


THE  j.  PAUL  GETTY  CENTER 
library 


PREFACE. 


/HE  success  attending  the  publication 
of  the  “Carriage  Painters’  Manual,” 
has  stimulated  rue  to  renewed  efforts 
to  make  this  volume  as  acceptable 
and  useful  to  the  general  public  as  the 
former  one  has  proved  itself  to  be  to  the  pro¬ 
fession. 

Having  been  frequently  asked  by  acquain¬ 
tances  and  others  for  information  pertaining 
to  the  art  of  painting  not  immediately  con¬ 
nected  with  carriage  work,  I  have  finally 
overcome  an  impression,  long  entertained, 
that  a  book  which  answered  such  questions 
and  treated  the  art  in  a  more  general  manner, 
(5) 


6 


Preface. 


would  be,  financially,  a  failure,  and  an  injury 
to  tlie  craft, — and  have  therefore  prepared 
these  pages  with  a  view  to  benefit  my  fellow- 
men. 

It  is  not  claimed  that  by  reading  or  study¬ 
ing  this  little  volume,  any  one  may  take  up 
the  brush  or  pencil  and  execute  work  equal  to 
that  done  by  a  practical  painter.  For,  it 
must  be  remembered,  that  painting  is  not 
simply  a  mechanical,  but  an  artistic  occupa¬ 
tion  ;  and  requires  extended  practice,  and  a 
thorough  training  to  master  the  art.  How¬ 
ever,  a  person  possessing  ingenuity  may  pre¬ 
pare  the  painting  mixture  ’and  spread  it  with 
a  brush  in  a  self-satisfactory  manner,  by 
following  the  directions  I  have  endeavored  to 
simplify  for  that  purpose.  By  using  no  tech¬ 
nical  terms  without  fully  interpreting  them, 
and  giving  formulas  for  mixing  paints  within 
the  limits  of  a  village  supply,  I  trust  my  en 
deavors  will  be  appreciated. 


The  Authoe. 


fHAVE  been  repeatedly  asked  by  parents 
having  boys  who  show  an  aptitude  for, 

?and  are  desirous  of  learning,  the  finer 
descriptions  of  painting,  such  as  lettering, 
scrolling,  and  ornamenting,  where  they 
may  be  apprenticed,  or  with  whom  placed,  to 
study  and  learn  the  art ;  and  as  there  seems 
to  be  a  prevailing  impression  that  it  is  as 
easy  to  secure  such  a  place  as  to  apprentice  a 
boy  to  the  shoemaking  trade,  I  will  endeavor 
to  show  the  fallacy  of  such  an  idea,  and,  if 
possible,  lead  the  aspirant  for  artistic  honors 
in  a  proper  channel. 

First,  then,  all  fine  painting,  requires  time 

(7) 


8 


“Pro  Bono  Publico.” 


to  execute  it  properly — for  such  work  cannot 
be  hurried  or  slighted  to  any  great  extent — 
an  experienced  or  well  practiced  eye  and 
hand,  and  a  judgment  based  upon  a  thorough 
knowledge  of  the  art.  Such  work  is  generally 
expensive,  from  the  fact  that  he  who  possesses 
these  requisites,  has  spent  years,  perhaps,  of 
study  and  practice,  to  obtain  them. 

If  the  practical  workman  is  engaged  upon 
this  class  of  work,  each  stroke  of  his  pencil  is 
accurately  made,  each  color  or  shade  is  applied 
or  blended  properly,  to  produce  the  desired 
result  ;  and  any  effort  at  assistance  by  an 
inexperienced  hand  would  retard  and  injure 
rather  than  improve  the  work.  So  it  is  plainly 
seen  that  an  apprentice  cannot  jump  into  the 
perfection  necessary  to  perform  this  work, 
and,  consequently,  is  not'  a  desirable  auxiliary 
to  the  artist. 

Again,  the  artist  may  be  employed  on  work 
directly  under  the  supervision  of  his  employer, 
who  expects  and  requires  the  artist’s  own 


“Pro  Bono  Publico.” 


9 


handiwork,  or  that  of  his  experienced  assist¬ 
ants  ;  and  the  apprentice  has  no  opportunity 
to  learn  by  practice  at  the  expense  of  the  art¬ 
ist’s  employer. 

There  are  those  in  the  business  who  express 
a  willingness  to  take  an  apprentice,  and  who 
pretend  to  teach  him  the  art ;  but  the  poor 
boy  will  find  that  he  is  only  wasting  time,  doing 
profitable  work  for  his  employer,  such  as  grind¬ 
ing  colors,  cleaning  tools,  running  errands, 
etc.  For  it  is  an  impossibility  for  a  boy  to 
assist  a  painter  on  fine  work,  until  he  has 
learned,  by  practice,  a  good  part  of  the  work. 
Many  parents,  foreseeing  the  difficulties  which 
beset  the  apprentice  at  this  trade,  agree  with 
a  good  painter,  for  a  sum  of  money,  to  instruct 
their  boy,  and  by  that  means  the  pupil  secures 
practice  directly  under  the  guidance  of  the 
artist  on  work  specially  designed  for  it,  until 
sufficiently  advanced  to  assist  his  teacher  on 
good  or  permanent  work.  The  cheapest,  and, 
I  think,  the  best  way  to  learn  the  art,  is  to 


10 


‘:Pro  Bono  Publico.” 


procure  a  good  book  on  tbe  subject,  study  it 
well,  purchase  necessary  tools,  colors,  etc.; 
and  begin  the  practice  of  painting  with  the. 
book  for  a  teacher.  When  opportunity  offers 
to  watch  the  movements  of  a  painter,  when 
engaged,  study  his  work  while  in  progress, 
and  after  completion  ;  practice  as  long  and  as 
frequently  as  circumstances  will  permit,  and 
in  a  few  months  the  student  may  enter  a 
workshop  or  painter’s  studio  to  work  “  under 
instructions,”  confident  that  he  now  has  the 
opportunity  to  lay  the  only  sure  foundation 
for  acquiring  the  whole  art  ;  namely,  practice. 


CHAPTER  I. 


fainting , 

j’HE  first  consideration  of  the  painter,  is 
to  secure  a  proper  foundation  01 
ground,  on  which  to  spread  his  paint. 
The  surface  on  which  the  paint  is  to 
be  applied  should  be  thoroughly 
cleaned,  by  washing,  or  rubbing  with  sand¬ 
paper  or  cloth,  and  well  dusted.  If  it  be 
of  wood  it  should  be  free  from  moisture  or 
dampness.  The  “  priming  ”  or  first  coat  of 
paint  should  be  made  of  white  lead  ground 
in  oil  and  diluted  with  raw  linseed  oil  to  the 
proper  consistency  for  spreading  with  a 
brush  evenly.  This  mixture  may  be  made 
to  dry  quicker  by  adding  a  small  quan- 

(11) 


12 


Every  Man 


tity  of  Japan  Gold  Size  or  patent  dryer 
Either  of  these  dryers  may  be  used  with 
safety  as  regards  durability  or  wearing  quali¬ 
ties  of  the  paint  —  provided  an  excess  is  not 
added — when  it  is  intended  for  wood  surfaces. 

Priming  should  be  well  worked  into  all 
cracks  or  imperfections,  which  afterwards  are 
to  be  filled  with  putty,  that  the  same  may 
adhere  well.  The  following  rules,  if  well  fol  • 
lowed,  will  be  found  of  advantage  to  the 
beginner. 

1.  Mix  the  colors  or  paints  according  to  the 
formulas  laid  down  in  these  pages,  being 
careful  to  get  the  proper  proportions. 

2.  Judge  as  near  as  possible  the  quantity 
required,  and  mix  more  than  enough  rather 
than  less. 

3.  Always  keep  the  paint  well  stirred  in  the 
cup  while  at  work,  for  some  pigments  settle 
to  the  bottom  very  quickly. 

4.  Never  put  a  coat  of  paint  or  varnish 
over  a  surface  not  perfectly  dry  and  hard. 


His  Own  Painter. 


13 


5.  Lay  on  the  paint  smoothly  ;  taking  as 
long  a  sweep  with  the  brush  as  possible,  and 
do  ;not  haggle  or  “  tease  ”  the  work  into  short 
patches  of  paint. 

6.  Do  not  fill  your  brush  to  overflowing  to 
drop  and  spatter  over  other  parts  of  the  work, 
nor  replenish  it  before  well  exhausted. 

7.  Keep  your  tools,  your  work  and  your 
clothing  as  clean  as  possible. 


TOOLS  USED  BY  PAINTERS. 

The  tools  used  by  the  painter  are  not  nu¬ 
merous  in  detail,  although  he  may,  if  a  good 
and  careful  workman,  possess  a  great  many 
alike,  or  similar  in  form,  but  used  for  dissimilar 
purposes  ;  and  I  will  here  describe  them. 

In  olden  times,  before  machinery  had 
reached  the  important  position  it  now  holds 
in  our  workshops,  painters  mixed  and  ground 
their  pigments  or  colors  on  a  marble  slab. 


14 


Every  Man 


using  another  small  piece  of  stone  as  a  rubbei 
or  grinder  ;  and  to-day,  notwithstanding  the 
innovations  made  by  machinery,  tire  “  stone 
and  muller  ”  are  indispensable  articles  in  the 
paint  shop.  White  marble  is  found  prefera¬ 
ble  for  the  purpose,  as  a  delicate  shade  of 
color  can  be  better  determined  on  a  white 
ground,  than  upon  a  black  or  variegated  one. 

Th e  palette  knife  is  a  companion  of  the  stone 
and  muller.  It  is  made  of  fine  steel,  and  is 
very  thin  and  flexible.  Various  sizes  may  be 
found  in  the  supply  stores,  but  a  knife  twelve 
inches  long  and  one  inch  wide  vvll  be  best  for 
general  use.  To  use  these  tools,  the  pigment, 
or  color,  is  placed  upon  the  stone,  and  if  it  be 
in  lumps,  the  muller  is  used  to  crush  them  to 
a  powder.  The  liquids  with  which  the  paint  is 
to  be  mixed  are  then  added,  and  the  whole  is 
mixed  or  stirred  together  with  the  palette 
knife.  The  muller  is  again  called  into  requi¬ 
sition  to  rub  or  grind  the  mass  of  coarse  paint 
to  a  proper  state  for  laying  on  the  work. 


His  Own  Painter. 


15 


Although  the  marble  slab  may  be  used  for 
grinding  and  mixing  paints  of  every  kind,  the 
process  is  too  slow  and  laborious  when  large 
quantities  of  paint  are  required ;  and  the 
paint  mill  is  therefore  a  labor-saving  and  use¬ 
ful  implement.  We  present  an  engraving  of 
the  most  approved  mill,  and  refer  our  readers 
to  other  pages  for  further  information  con¬ 
cerning  paint-mills. 


HARRIS*  PATENT  PAINT  MILL. 


CHAPTER  II. 


JVirusbrs. 


HERE  are  many  kinds  and  qualities 
of  brushes,  among  which  are,  first,  the 
ordinary  or  common  paint  brashes. 
These  are  made  of  hog’s  bristles  and 


^  are  of  various  sizes,  designated  by 
dealers  as  0,  00/000,  one  inch,  two  inches,  etc. 
Some  are  round,  some  oval  shaped,  and  others 
flat.  The  round  brashes  are  used  principally  by 
house  painters,  on  large  surfaces.  The  oval 
ones  are  generally  made  of  better  material, 
and  are  used  for  fine  painting,  as  on  carriage 
work,  or  for  varnishing.  The  flat  brushes  are 
useful  on  any  kind  of  work.  In  purchasing 


aoi 


Every  Man  His  Own  Painter.  17 


this  class  of  brushes,  care  should  be  taken  to 
get  those  only  which  are  well  bound — the 
wire-bound  brushes  are  considered  best — the 
handles  tight  in  the  socket,  if  in  tin-binding, 
and  the  bristles  soft, .  yet  elastic.  The  latter 
quality  may  be  tested  by  bending  the  bristles 
in  the  hands.  The  flat  brushes  should  be 
chosen  for  their  plentiful  supply  of  bristles,  for 
a  thin  flat  brush  is  not  a  proper  tool  to  lay 
paint  evenly.  A  thin  flat  brush  is  used  by 
grainers  in  imitating  different  kinds  of  wood. 

Carriage  painters,  use  flat  brushes  for  var¬ 
nishing,  and  these  are  generally  made  ex¬ 
pressly  for  the  purpose.  The  brushmaker 
takes  the  required  quantity  of  bristles  to  form 
a  brush,  and  draws  back  the  outside  bristles 
on  each  side  of  a  centre  line,  equally  and 
evenly,  forming  a  chisel  or  bevelled  edge,, 
thereby  leaving  the  split  end  of  the  bristle  on 
the  brush,  not  ground  or  worn  off — this  makes 
the  brush  softer  and  more  elastic  than  other 
descriptions  of  bristle  varnish  brushes. 

2 


18 


Every  Man 


“Sash  Tools”  are  tlie  small-sized  round 
bristle  brushes,  and  are  used  to  wipe  or 
smooth  the  paint  in  comers,  and  around 
mouldings  or  sashes,  or  for  painting  where  it 
would  be  impracticable  to  use  a  large  brush. 

Smaller  bristle  brushes,  bound  in  tin,  are 
called  by  some  painters  “Fitches,”  but  for 
what  reason  I  cannot  conjecture,  as  they  have 
no  connection  with  the  Fitch-hair  brushes 
ol  the  brush-maker,  The  large,  round  or  oval 
blushes  should  have  an  extra  binding  put  on 
when  new,  for  the  bristles  are  too  long  to  work 
well.  Some  painters  bind  a  strong  cord 
around  to  the  proper  distance  and  secure  each 
end  to  the  handle.  But  a  better  way  is  to 
take  a  piece  of  strong  muslin  and  wrap  one 
thickness  around  the  bristles,  then  tie  a  cord 
around  the  same  as  low  as  you  desire  the 
binding  to  come — say,  one-third  the  length 
of  the  bristles,  then  fold  the  muslin  back 
toward  the  handle  and  fasten  it  by  tieing  or 


His  Own  Painter. 


L9 


tacking  to  the  original  binding.  This  will  be 
found  an  excellent  plan  for  varnish  tools. 

Camels’-hair  brushes  or  blenders,  are  made, 
as  their  name  indicates,  of  camels’-hair  bound 
in  tin,  with  flat,  red  cedar  handles.  They  are 
used  for  laying  fine  colors  on  smooth  surfaces, 
and  are  employed  by  the  carriage  painter  to  a 
great  extent.  They  are  also  used  for  spread¬ 
ing  the  size  used  in  gilding  on  glass,  and  may. 
be  used  dry  to  dust  off  gold  or  delicate 
•  surfaces. 

All  brushes  when  not  in  use,  used  for  paint¬ 
ing,  should  be  kept  suspended  in  water,  and 
the  most  convenient  way  is  shown  in  the 
engraving  much  better  than  any  written  de¬ 
scription  I  might  give. 

Nails  are  driven  through  the  staves  of  a  tub 
in  such  a  manner  that  the  brushes  may  be 
suspended  thereon,  allowing  the  ends  to  just 
clear  the  bottom,  and  the  water  to  reach  only 
to  the  binding. 


20 


Every  Man 


Fitcii-hair  Varnish  Brushes. — These  are 
made  of  a  dark  colored  hair,  very  elastic  and 
soft,  neatly  bound  in  tin,  with  turned  handles. 
They  are  used  for  very  fine  varnishing,  as  on 
carriage  bodies  ;  on  fine  work  boxes,  and  fur¬ 
niture,  or  over  gold  leaf  or  any  delicate  sur¬ 
face,  where  a  fine  finish  is  desired. 

There  is  an  imitation  Fitch-hair  brush  sold 
for  one-half  the  price  charged  for  the  genuine 
article,  but  they  will  prove  to  be  “poor  tools 
at  best,”  and  should  not  be  purchased  for  the 
purpose  of  varnishing.  The  real  Fitch-hair 


His  Own  Painter. 


21 


brush  generally  costs  one  dollar  per  inch, 
width  measure. 

Varnish  brushes  should  be  kept  suspended 
in  varnish,  when  not  in  use,  not  in  oil  or  tur¬ 
pentine,  for  the  latter  destroys  the  elasticity  of 
the  hair  or  bristles  and  eventually  ruins  the 
brush.  A  tin  box,  as  shown  in  the  engraving, 


CAN  FOE  VAENISH  TOOLS. 


is  used  in  well-regulated  paint-shops  to  keep 
the  varnish  tools  in.  But  a  simple  substitute 
may  be  made,  as  follows  :  Take  a  tin  can  and 
pierce  two  small  holes  in  opposite  sides,  near 
the  top,  then  make  similar  holes  in  the 


22 


Every  Man 


handles  of  the  brushes,  being  careful  to  have 
the  holes  low  enough  down  to  allow  the  ends 
of  the  brushes  to  clear  the  bottom  at  least 
an  inch.  Then  suspend  them  by  putting  a 
piece  of  wire  through  the  holes  of  the  can  and 
the  handles,  and  put  in  sufficient  varnish  to 
just  cover  the  binding  one-half  its  depth  ; 
then  cover  the  whole  with  a  wooden  box,  to 
exclude  the  dust. 

Varnish  brushes  should  never  be  allowed  to 
touch  water  under  any  circumstances,  as  it  not 
only  injures  the  elasticity  of  the  hair,  but  a 
resinous  substance  is  formed  in  the  “  hilt  ”  of 
the  brush,  which  can  never  be  thoroughly 
removed,  and  which  will  work  out  little  by 
little  when  the  brush  is  used,  destroying  the 
smooth,  glassy  surface  which  might  other¬ 
wise  be  obtained. 

Smaller  brushes  than  those  mentioned,  are 
called  “pencils.”  Striping  pencils  are  made 
of  camels’-hair,  sable-hair,  ox-hair,  etc.  ;  the 
hair  being  about  one  and  a  half  inches  in 


His  Own  Painter. 


23 


length  and  bound  in  quills.  Camels’-hair 
pencils  are  generally  used  on  ordinary  work, 
and  cost  from  five  to  fifteen  cents  each  ;  while 
the  sable  pencils  are  best  for  fine  striping, 
and  range  in  price  from  fifty  cents  to  two 
dollars  each. 

This  description  of  pencil  is  used  for  letter¬ 
ing  and  scrolling,  the  hair  being  a  little  shorter 
only. 

Ox-hair  pencils  are  excellent  for  fine  lines 
in  striping,  and  made  fiat,  or  as  some  call  them, 
,£  dagger  pencils.”  The  cut  will  show  their 


A 


B 


form.  They  are  used  by  holding  them  edge¬ 
wise  to  the  work,  and  allowing  but  one-half 
the  length  of  the  hair  to  touch. 

Ornamenting,  or  artists’  pencils,  are  made 
of  various  kinds  of  material,  some  very  fine 
and  soft,  others  stiff  and  harsh.  They  are 
bound  in  tin  or  brass,  with  long  cedar  handles. 


24  Every  Man  His  Own  Painter. 


and  are  sold  from  ten  cents  to  one  dollar, 
according  to  size  and  quality. 

Stencil  brushes  are  short  stiff  brashes  for 
painting  over  stencil  plates,  price  from  thirty 
to  fifty  cents  each.  (See  Stenciling.)  Soft  hair 
brashes,  made  in  similar  form,  are  used  by 
artists  for  blending  shades,  and  instead  of  lay¬ 
ing  on  the  color,  they  merely  strike  the 
freshly  painted  surface  with  the  end  of  the 
brash,  called  “  stippling.” 

All  pencils  should  be  well  .rinsed  out  in 
turpentine  and  well  greased  with  tallow,  be¬ 
fore  laying  aside  after  use. 

A  few  other  tools  of  the  painter  are,  the 
Putty-knife,  Palette,  and  Rest-stick,  Chamois 
skin,  Sponge,  Combs  for  graining,  Brick 
Pencils,  and  Dusting  Brash. 


CHAPTER  III. 

JJl'g  Cnicrrs. 

«T  is  not  my  intention  to  enter  into  details 
of  color-making,  or  rather,  the  chemical 

f  preparation  of  coloring  substances,  for  in 
these  days  of  improvement,  the  painter 
is  not  compelled  to  make  his  pigments,  as 
in  “  auld  lang  syne;”  therefore,  if  I  describe 
those  sold  by  the  dealer,  the  method  of  mix¬ 
ing  them,  and  their  combinations  to  form 
shades  and  tints,  it  will,  I  doubt  not,  be  entirely 
sufficient. 


WHITE  LEAD. 

This  pigment  is  the  principal  one  used  in 
the  art,  as  it  forms  the  best  foundation  for 

< 25 ) 


26 


Every  Man 


laying  on  other  colors,  and  is  the  basis  for 
most  of  the  tints  and  shades.  If  perfectly 
pure  it  will  be  found  “  ropy,”  when  lifted  from 
the  keg  with  the  knife,  while  adulterations,  or 
lead  mixed  with  whiting,  barytus,  etc.,  is 
generally  short  and  crumbling.  There  are 
many  brands  of  white  lead,  each  claiming  to 
possess  the  best  qualities,  and  perhaps  each,  if 
pure,  are  good, — but  cheap,  adulterated  lead 
should  be  avoided,  as  it  is  always  the  dearest 
in  the  end. 


ZINC  WHITE. 

This  is  similar  to  white  lead  in  appearance, 
but  has  less  body  or  covering  qualities.  It  is 
frequently  used  over  white  lead  paint,  when  an 
extra  finish  is  desired.  It  is  a  beautiful  white 
color,  and  when  mixed  with  white  varnish,  it 
forms  the  “  China  Gloss  ”  of  commerce. 


His  Own  Painter. 


27 


LAMPBLACK. 

The  best  is  “  refined  black,”  or  that  which 
has  been  burned  in  a  furnace  to  destroy  its 
greasy  nature.  It  may  be  mixed  with  oil, 
varnish,  or  turpentine,  and  used  without 
grinding.  It  is  a  cheap  and  durable  color. 


DROP,  OR  PATENT-BLACK. 

This  is  a  superior  color,  made  from  animal 
charcoal  or  burnt  bones.  It  is  used  extensively 
in  carriage-painting,  mixed  as  follows.  The 
lumps  are  pulverized  on  the  ‘  stone  ’  and  mixed 
to  a  thick  paste  with  turpentine.  It  is  then  put 
into  the  mill  and  diluted  with  a  sufficient 
quantity  of  Brown  Japan  or  Japan  Gold-size 
to  allow  it  to  be  ground  freely,  care  being 
taken  not  to  make  it  too  thin.  When  the 
mixture  has  been  ground  fine, — and  it  may  be 
necessary  to  run  it  through  the  mill  twice, — 
add  carriage  rubbing  varnish  in  the  proportion 
of  one  gill  to  a  pint  of  paint,  to  bind  the  color 


28 


Every  Man 


well,  or  if  there  be  time  enough  given  to  dry, 
one-half  a  gill  of  boiled  linseed  oil  may  be 
used  instead  of  the  varnish.  Then  if  too  thick 
to  spread  easily  add  a  little  turpentine. 


IVORY  BLACK 

Is  the  ne  plus  ultra  of  blacks,  and  is  used  on 
fine  work  only,  being  quite  expensive.  It  is 
made  from  burnt  ivory,  and  is  a  very  difficult 
color  to  grind. 


PRUSSIAN  BLUE. 

This  is  the  strongest  bodied  color  of  its 
class,  and  may  be  mixed  in  the  same  manner 
as  patent  black  ;  but  in  its  pure  state  it  is  too 
dark  for  ordinary  purposes.  It  is  changed  to 
any  desired  shade  by  mixing  with  it  a  little 
white.  When  added  to  black  it  improves  or 
enriches  the  latter,  making  a  fine  blue-black. 


His  Own  Painter. 


29 


ULTRAMARINE. 

A  beautiful  shade  of  blue.  When  mixed 
with  white  it  can  be  used  on  all  descriptions 
of  work,  but  in  its  pure  state  it  possesses  very 
little  body,  and  is  therefore  frequently  used  as 
a  glazing  over  other  blue  grounds.  It  retails 
for  about  40  cents  per  lb. 

GREEN. 

There  are  many  shades  and  qualities  of 
green,  the  most  useful  of  which  is  Chrome 
Green.  It  is  a  strong  bodied  color,  and  may 
be  changed  from  its  pure  state  or  particular 
shade,  to  an  endless  variety  of  shades,  by 
adding  Prussian  Blue  to  darken,  or  Chrome 
Yellow  to  lighten.  Yerdigris,  Terre  Yerte. 
Cobalt  Green,  and  Emerald  Green  are  all  fine 
colors,  and  are  used  for  nice  painting. 

YELLOW. 

Chrome  Yellow  is  the  principal  one  of  this 
class,  of  which  there  are  many  shades,  namely 


30 


Every  Man 


light,  medium,  deep  lemon,  and  orange.  It 
retails  for  about  30  cents  per  lb.  Yellow  Ochre 
is  a  yellow  earth,  and  is  a  very  useful  and 
durable  color  for  barns,  outbuildings,  fences, 
floors,  and  all  common  work.  It  is  sold  in 
large  quantities  for  two  or  three  cents  per  lb. 


.  VERMILION. 

There  are  many  kinds  of  vermilion.  That 
most  frequently  used  is  of  English  manufacture. 
This  is  divided  into  two  shades,  the  light,  and 
the  deep  ;  the  former,  having  the  most  body 
or  covering  qualities,  is  used  for  lettering  and 
ornamenting. 

Chinese  vermilion  would  be,  if  possible  to 
procure  it  unadulterated,  the  finest  red  in  use; 
but  it  is  so  frequently  tampered  with,  that  the 
English  is  now  the  leading  article.  American 
vermilion  is  a  very  good  pigment  for  ordinary 
work,  and  a  quality  known  as  California  ver¬ 
milion  is  extensively  used  on  the  panels  of 


His  Own  Painter. 


31 


railroad  cars,  proving  to  be  good  and  durable. 
Vermilion  is  a  mixture  of  sulphur  and  mercury, 
and  is  frequently  found  to  turn  to  a  dark 
brown  color  if  exposed  to  th6  atmosphere.  A 
remedy  for  this  is,  to  add  one-eighth  part 
flour  of  sulphur  to  the  paint  when  mixing. 

English  Vermilion  is  sold  for  from  95  cents 
to  81.75  per  lb.  Chinese,  which  is  put  up  in 
small  paper  packages,  retails  for  from  $1.00  to 
$1.50  per  lb.  American,  in  six  pound  cans, 
35  cents  per  lb.  The  California  brand,  $1.50. 


BROWN. 

Burnt  Umber,  Raw  Umber,  Sienna,  Van¬ 
dyke  Brown,  Spanish  Brown,  are  all  brownish 
colors  ;  but  the  better  way  is  for  the  painter 
to  make  browns  by  mixing  red  and  black  to 
any  desired  shade. 

LAKE. 

There  are  many  kinds  of  lake  colors.  -  Some 
are  procured  in  small  lumps  or  drops,  others 


32 


Every  Man 


in  powdered  form,  and  others  in  cakes  or 
broken  pieces. 

Those  most  frequently  used  are  : 

Carmine — Scarlet — Yellow — Florentine  I 

*  V  LAKE 

Munich — Madder — Purple — Crimson  j 

These  colors,  when  mixed  for  solid  colors, 
should  not  be  allowed  to  dry  “dead,”  but 
should  have  an  egg-shell  gloss  ;  otherwise  the 
beauty  of  the  color  is  lost.  This  is  done  by 
adding  to  the  paint  when  mixed  a  few  drops 
of  carriage  varnish.  A  black  ground  is  con¬ 
sidered  best  for  lake,  although  some  prefer  a 
dark  brown.  This  is  the  color  so  much 
admired  on  coach  panels,  and  called  by  some, 
“wine  color”  and  “claret.”  It  may  be  used 
for  glazing  over  vermilion,  and  frequently 
takes  the  place  of  carmine. 

CARMINE. 

This  is  a  beautiful  crimson  or  blood-red 
color,  and  the  most  expensive  color  used, 
usually  costing  $3.00  per  ounce.  It  is  there- 


His  Own  Painter. 


33 


fore  used  for  glazing  over  reds  or  browns. 


ROSE-PINK. 

Tbis  is  an  imitation  of  lake,  and  as  it  soon 
fades  or  loses  its  crimson  tint,  it  is  not  em¬ 
ployed  to  any  great  extent. 


WHITING. 

A.  species  of  chalk,  used  in  making  white¬ 
wash  or  kalsomine  for  walls.  It  is  not  suit¬ 
able  for  oil  painting,  as  it  turns  to  a  dirty 
brown  color  when  mixed.  It  retails  for  five 
cents  per  pound. 

GLUE. 

Good  glue  should  be  a  light  brown  color, 
semi-transparent,  and  free  from  waves  or 
cloudy  lines.  When  desired  for  use  it  should 
be  broken  into  small  pieces  and  placed  in  a 
vessel  containing  sufficient  water  to  cover  it, 
in  which  it  will  soften  and  swell  ;  then  it  must 
3 


34 


Every  Man 


be  heated  and  boiled  ;  and  this  should  be  done 
by  setting  the  vessel  containing  the  glue  into 
another  vessel  of  water,  in  which  is  placed  a 
few  pebbles  or  nails  to  prevent  the  glue  vessel 
from  touching  the  bottom.  Set  this  over  the 
fire,  and  when  the  glue  is  dissolved  and  has 
boiled  a  few  moments,  it  is  ready  for  use. 
Cooper’s  glue  sells  in  New  York  for  about  25 
cents  per  lb. 


PUMICE-STONE. 

Pumice-stone  in  the  lump  is  used  by  painters 
to  level  painted  surfaces.  In  carriage  painting, 
a  coarse  mixture  of  paint  is  put  on  the  work, 
and  dried.  Then  having  cut  the  stone  level 
and  smooth  with  a  saw  or  file,  the  workman 
rubs  the  surface  of  the  work  thus  prepared, 
using  water  in  abundance  to  prevent  heating 
or  scratching,  until  a  smooth  level  surface  or 
foundation  for  other  paints  is  obtained. 

Pulverized  pumice-stone  is  used  to  remove 
the  gloss  and  imperfections  on  varnished 


His  Own  Painter. 


35 


surfaces,  by  rubbing  with  a  woolen  cloth  and 
water. 

Rattan  Stone  is  used  in  the  same  manner,  but 
only  on  work  which  requires  polishing. 

The  surface  having  been  well  rubbed  with 
the  fine  pumice-stone  and  water,  the  operation 
is  repeated,  using  rotton  stone,  finely  pulver¬ 
ized,  in  the  place  of  the  pumice-stone,  until  a 
slight  gloss  appears  ;  then,  sweet  oil  is  sub¬ 
stituted  for  water,  and  the  rubbing  process  is 
continued  ;  finally  the  rotton  stone  and  oil  is 
cleaned  off  by  rubbing  wheat  flour  over  the 
work,  and  the  brilliant  gloss  improved  by 
rubbing  with  a  soft  silk  handkerchief  or  the 
palm  of  the  hand.  t 

ASPHALTUM 

Is  a  resinous  substance,  quite  black  in  ap¬ 
pearance  when  dry,  but  of  a  brownish  tint 
when  mixed  for  use.  It  may  be  procured  in 
lumps  and  ground  for  use  as  required  ;  but  it 
is  best  to  purchase  the  prepared  article,  direct 


36  Every  Man  His  Own  Painter 


from  the  dealer.  It  is  a  very  transparent 
color,  and  is  excellent  for  shading  over  gold 
leaf,  as  in  scrolls  and  ornamental  work.  It 
may  be  nsed  to  advantage  in  staining  in 
imitation  of  hard  woods. 


CHAPTER  IY. 


yixjttifcs. 


SPIRITS  OF  TURPENTINE. 


HIS  is  a  highly  inflammable  fluid,  and 
as  spoaen  of  before  in  these  pages, 
extremely  volatile.  The  odor  from 
good  turpentine  is  stronger  but  not 
so  offensive  or  unpleasant  as  that 
which  arises  from  an  inferior  quality,  and  this 
peculiarity  may  be  sometimes  turned  to 
advantage  in  testing  its  qualities.  It  is  con¬ 
sidered  very  injurious  to  the  health  of  the 
painter,  both  by  inhaling  its  fumes,  and  by 
absorption  through  the  pores  of  the  skin,  and 
I  would  here  caution  painters  to  abstain  from 
using  it  as  a  means  of  cleaning  the  hands. 

(37) 


38 


Every  Man 


Its  price  varies  from  50  cents  to  $1.00  per 
gallon. 


BENZINE 

Is  frequently  substituted  for,  and  mixed 
■with  turpentine  by  unprincipled  dealers,  but  it 
is  so  far  inferior  to  that  article  that  its  use 
will  not  be  countenanced  by  even  a  medium 
workman,  except  on  very  common  work. 


OILS. 

For  ordinary  work  linseed  oil  is  best.  But 
artists  use  oil  of  lavender,  oil  of  spike,  oil  of 
poppies,  etc.,  in  mixing  fine  colors.  Raw 
linseed  oil  is  preferable  for  first  coats,  for  being 
more  limpid  than  the  boiled  oil,  it  readily 
penetrates  the  pores  or  grains  of  wood,  and 
secures  the  same  against  moisture.  The 
longer  oil  is  kept  the  better,  both  in  regard  to 
its  drying  qualities  and  its  transparency. 


His  Own  Painter. 


39 


VARNISHES. 

The  varnish  list  embraces  an  almost  endless 
variety.  I  will  mention  only  those  most 
commonly  used.  The  best  and  most  durable 
varnishes  are  used  in  carriage  painting. 

Carriage  -  rubbing  Varnish,  the  first  on  the 
list,  is  used  to  fill  up  or  produce  a  level  sur¬ 
face  over  paint,  on  which  to  spread  other  and 
better  qualities  of  varnishes.  It  dries  suffi¬ 
ciently  hard  to  handle  in  about  ten  hours  ;  but 
should  be  allowed  a  longer  time  to  harden, 
before  the  process  of  rubbing  with  pumice- 
stone  is  begun. 

Carriage  Varnish  is  superior  to  Furniture 
Varnish,  and  I  would  recommend  its  use  for 
varnishing  furniture. 

Hard-drying  Body  Varnish. — This  is  used  for 
finishing  coats  over  a  levelled  surface,  on  work 
not  requiring  the  greatest  durability,  and  is 
particularly  adapted  for  the  best  inside  work. 


40 


Every  Man 


Wearing  Body  Varnish. — This  is  very  pale, 
and  surpasses  all  others  in  freedom  of  working, 
as  well  as  in  brilliancy  and  durability.  Though 
a  long  time  in  hardening,  it  dries  out  of  the 
way  of  dust  in  ten  or  twelve  hours,  and  sets  so 
slowly  that  ample  time  is  allowed  to  accom¬ 
plish  a  perfect  job  on  the  largest  area  of 
surface. 

Furniture  Varnish. — This  is  an  inferior 
quality  of  Varnish,  possessing  more  resinous 
substance  than  copal,  or  mastic  gums.  It  is 
generally  sufficiently  durable  and  glossy  for 
the  purpose  designed. 

Average  Price  of  Varnishes. 


$  cts. 

Carriage-Rubbing .  per  gallon  ...  4.00 

Hard-Drying  Body .  “  “  4.75 

Coach,  No  1 . ^  “  “  _ 5.00 

Wearing  Body .  “  “  ....  6.00 

English .  “  “  6.50 

Furniture .  “  “  3.00 

Japan  Gold  Size  (a  dryer)  “  “  3.50 

Brown  Japan .  .  “  “  ....  2.00 

Enamelled  J^eather  Varnish  “  “  _  4.00 


His  Own  Painter. 


41 


Shellac  Varnish. — This  may  be  purchased 
ready  prepared,  but  it  is  best  to  make  it  when 
required. 

Take  one  lb.  of  gum  shellac  and  put  it  in  an 
ear  them  vessel,  cover  it  with  alcohol  (90  per 
cent,  is  best)  and  set  it  in  a  warm  place;  shako 
the  mixture  occasionally,  and  in  a  day  or  two 
it  will  be  ready  for  use.  It  is  used  to  prevent 
the  resinous  substance  in  pine  knots  from 
striking  out  through  the  paint,  by  simply 
coating  them  over  before  the  priming  is  put  on. 

A  little  lampblack  added  to  this  varnish 
forms  an  excellent  harness  varnish. 

Japan  Gold  Size. — This  is  a  superior  liquid 
dryer  for  paints.  It  is  lighter  colored  than 
Brown  Japan  dryer,  with  nearly  double  its, 
strength.  On  account  of  its  paleness  and  the; 
less  quantity  required,  it  is  especially  valuable, 
for  use  with  light-colored  paints,  and  being  an 
oil  dryer,  is  much  less  hurtful  to  the  work  than 
Brown  Japan. 


42 


Every  Man 


Brown  Japan.— A  liquid  dryer  for  paints,  and 
thougli  not  considered  as  good  as  the  Gold 
Size,  it  is  extensively  used  for  the  purpose 
designed. 

A  good  dryer  for  paints  is  made  by  grinding 
or  dissolving  a  small  quantity  of  sugar  of  lead 
in  linseed  oil. 

Size,  or  Mordant  Varnishes. — One  of  the  best 
Mordants  or  sizing  for  signs,  or  work  to  be 
exposed  to  the  weather,  is  called/ai  oil  size.  It 
may  be  purchased  ready  mixed,  but  is  best 
when  prepared  as  follows:  Expose  boiled 
linseed  oil  to  a  strong  heat  in  a  pan  ;  when  it 
begins  to  smoke,  set  fire  to  the  oil,  allow  it  to 
burn  a  moment,  and  then  suddenly  extinguish 
it  by  covering  the  pan.  This  will  be  ready  for 
use  when  cold,  but  will  require  thinning  with 
.a  little  turpentine. 

QUICK  GOLD  SIZE. 

For  lettering,  striping,  and  ornamenting  on 
wagons,  furniture  or  other  articles,  and  which 


His  Own  Painter. 


43 


will  be  coated  over  with  varnish,  the  best  is 
put  up  in  half  gallon  cans  and  labelled 
“Gold  Size,”  and  sells  for  about  $4.00  per 
gallon. 

But  in  case  this  is  not  easily  obtained,  take 
equal  parts  of  carriage  finishing  varnish  and 
Brown  Japan,  and  a  fair  imitation  of  the 
Quick  gold  size  will  be  formed. 


ASPHALTUM, 

As  procured  from  the  dealer  in  liquid  form, 
and  diluted  with  turpentine  and  a  few  drops 
of  linseed  oil,  will  be  found  an  excellent  size 
for  light  or  pale  gold  leaf,  or  gold  bronze. 

A  good  gold  size  is  made  by  adding  a  little 
honey  to  dissolved  glue  ;  and  is  used  by  fresco 
painters  in  decorating  walls  and  ceilings.  The 
brilliancy  of  the  gold  is  greatly  improved 
when  put  over  this  size  ;  but  it  must  not  be 
varnished  over. 


44  Every  Man  His  Own  Painter. 


SIZE  FOR  GILDING  ON  GLASS. 

Drop  a  few  pieces  of  isinglass  into  a  pint  of 
boiling  water,  and  when  thoroughly  dissolved, 
strain  through  clean  muslin.  (See  Gilding.) 


CHAPTER  Y. 


#il  (&alaxu. 

J0R  the  use  of  persons  who  have  no 
facilities  for  grinding  paints,  colors 
gronnc[  ;n  oil  and  put  up  in  small  tin 
boxes  or  cans  may  be  purchased  at  the 
paint  stores.  They  are  excellent  for 
mixing  with  white  paint  to  form  shades  or 
tints,  or  for  use  in  their  pure  state,  by  thinning 
with  turpentine,  and  adding  a  little  dryer. 

Similar  colors  ground  exceedingly  fine  for 
artists’  use,  are  put  up  in  tubes  of  soft  tin, 
having  a  screw  cap  or  cover.  "When  required 
for  use,  the  cover  is  removed,  and  by  a  gentle 
pressure  of  the  fingers  upon  the  sides  of  the 
tube  the  color  is  ejected. 

t451 


46 


Every  Man 


The  list  embraces  the  following  colors 


Yollow  Lake 
Dntek  Pink 
English  Pink 
Italian  Pink 
Kings  Yellow 
Chinese  Yellow 
Indian  Yellow 
Rose  Pink 
Carmine 
Vermilion 
Madder  Lake 
Indigo  Blue 
Intense  Blue 
Antwerp  Blue 
Prussian  Blue 
Sap  Green 


Green  Verditer 
Mountain  Green 
Chrome  Green 
Verdigris 
Terre  Verto 
Cobalt  Green 
Purple  Ochre 
Yellow  Ochre 
Oxford  Ochre 
Roman  Ochre 
Purple  Lake 
Burnt  Sienna 
Raw  Sienna 
Burnt  Umber 
Raw  Umber 


Cassel  Earth 
Cologne  Earth 
Asphaltum 
Emerald  Green 
Indian  Red 
Venetian  Red 
Naples  Yellow 
Chrome  Yellow 
Ivory  Black 
Lamp  Black 
Orange  Yellow 
'Flake  White 
Crems  Whito 
Sugar  of  Lead 
Ultramarine. 


COMPOUND  COLORS. 

It  would  be  an  endless  task  to  enumerate 
all  the  colors  formed  by  the  mixture  of  other 
colors.  I  will  therefore  give  the  simplest 
method  of  making  various  tints,  leaving  the 
reader  to  exercise  his  own  judgment  as  regards 
others  not  mentioned.  If  you  would  produce 


His  Own  Painter. 


47 


Straw  Color 

add 

Chrome  Yellow  to  White  Lead 

Silver  Gray 

Rose  Color  ) 

it 

Lampblack  and  Indigo  to  White 

Pink  \ 

it 

Carmine  or  Lake  to  White 

Pea  Green 

it 

Chrome  Green  to  White 

Lead  Color 

i  i 

Lampblack  to  White 

Wood  Color 

a 

Raw  Umber  to  White 

Brilliant  Green 

it 

Emerald  Green  to  White 

Bright  Green 

a 

Paris  Green  to_  White 

Drab  Color 

ft 

Umber  to  White 

Bute  Color 

it 

Yellow  Ochre  to  White 

Salmon  Color 

a 

Red, Umber  and  Yellowto  White 

Flesh  Color 

a 

Carmine  to  Straw  Color 

Dark  Green 

it 

Black  to  Chrome  Green 

Brown 

it 

Red  and  Black  to  suit 

Purple 

a 

Red  to  light  Blue 

Pearl  Color 

“ 

Blue  to  Lead  color 

Orange 

it 

Vermilion  to  Chrome  Yellow 

Olive 

a 

Chrome  Yellow,  Blue,  Black 
and  Red 

Chestnut 

it 

White  to  Brown 

Chocolate 

a 

Yellow  to  Brown 

Cream  White 

White,  tinted  with  Red  and 
Yellow 

French  White 

White,  tinted  with  Purple  color 

Pearl  White 

White,  tinted  with  Blue  and 
Purple 

Ashes  of  Roses 

White,  tinted  with  Lead  color 
and  Lake 

French  Gray 

White,  tinted  with  Black  and 

Purple. 

CHAPTER  YI. 

HVmng  Jpaint. 

)  essential  qualities  of  paint  are  : 

1.  Body,  or  covering  quality. 

2.  Fluidity. 

3.  Drying  and  hardening. 

4.  Binding  or  adhesiveness. 

5.  Durability. 

It  is  not  always  within  the  power  of  the 
painter  to  adjust  the  first  mentioned  quality, 
for,  as  shown  elsewhere,  some  pigments  are 
opaque,  others  transparent;  and  no  art  known 
to  the  painter  can  change  these  peculiarities, 
vet,  he  may  so  combine  them  when  making 
colors  and  shad.es,  that  the  transparent  color 
will  be  less  transparent,  or  nearly  opaque. 
(48) 


Every  Man  His  Own  Painter.  49 

It  is  sometimes  found  that  paint  “  curdles  ” 
or  “  thickens  ”  in  the  cup,  and  repeated  addi¬ 
tions  of  liquids,  to  give  it  fluidity  or  ease  in 
spreading  with  the  brush,  destroys  its  body 
or  opaqueness.  The  cause  of  this  is  attribu¬ 
table  to  improper  quantities  or  proportions  of 
the  liquids  employed  in  mixing.  If  an  excess 
of  dryers  be  added  to  oil  color  it  will  immedi¬ 
ately  “  curdle,”  and  form  a  glutinous  mass  „ 
while  a  lesser  quantity,  and  yet  a  sufficiency 
to  dry  the  paint,  will  not  “  curdle  ”  it,  provid¬ 
ing  the  liquids  or  dryers  (if  not  liquids')  be 
of  good  quality.  Therefore  an  excess  of 
dryers  will  not  always  be  advantageous  on 
hurried  work. 

The  drying  qualities  of  paint  are  not  always 
given  by  dryers  alone.  Many  of  the  pigments 
are  of  themselves  dryers,  among  which  may 
be  mentioned  red  lead,  umber,  sienna,  and 
Vandyke  brown  ;  and  these  therefore  do  not 
require  so  large  a  quantity  of  dryers  when 
mixed  with  oil. 


4 


50 


Every  Man 


Binding  is  an  important  feature  in  quick 
drying  paints,  or,  as  called,  “  Dead  color,”  to 
insure  adhesion  to  the  "work.  If  paint  be 
mixed  with  turpentine  alone,  the  turpentine 
will  quickly  evaporate  and  leave  no  residuum, 
except  the  dry  pigment,  which  may  be  easily 
dusted  from  the  work  ;  therefore,  oil  or  var¬ 
nish  is  added  to  paint  to  bind  the  particles 
together.  They,  unlike  turpentine,  form  a  re¬ 
sinous  coating  by  absorbing  oxygen  in  drying. 

None  but  the  oils  spoken  of  in  these  pages 
are  ever  used  in  painting,  excepting  a  prepared 
fish  oil,  which  is  used  sometimes  on  common 
work. 

Paint  intended  for  outside  work,  and  which 
will  not  be  protected  by  varnish,  is  mixed  as 
follows  : 

Crush  the  color,  if  in  lumps,  and  mix  to  a 
stiff  paste  with  linseed  oil,  boiled  or  raw — but 
the  latter  is  preferable — then,  if  a  dark  color, 
add  brown  Japan  or  gold  size,  in  the  propor¬ 
tion  of  one-half  a  pint  to  a  gallon  of  oil ;  if  a 


His  Own  Painter. 


51 


light-color,  use  patent  dryer  in  similar  quanti¬ 
ties. 

If  oil  colors  are  used,  mix  as  follows  : 


WHITE  PAINT. 

Take  the  white  lead  from  the  keg  and  mix 
it  in  another  vessel  with  linseed  oil  to  the 
consistency  of  thick  cream,  then  add  a  small 
quantity  of  Japan  gold  size*  and  stir  all  well 
together. 

Now,  we  have  the  foundation  for  two  or 
more  coats  of  paint,  and  the  subsequent  dilut¬ 
ing  or  thinning  will  determine  the  order  of 
application. 

First  Coat,  or  Priming. — Reduce  the  above 
mixture  to  the  proper  consistency  for  spread¬ 
ing  thin  and  evenly  with  the  brush,  with  more 
oil,  using  nothing  else  whatever,  if  durability 
is  desired.  • 

*  Japan  gold  size  is  now  manufactured  light  enough 
in  color  to  mix  in  white  paint  for  a  dryer,  without 
affecting  the  white  color  to  any  great  extent. 


52 


Every  Man 


Second  Coat,  to  be  applied  when  the  priming 
is  thoroughly  dry  and  hard  ;  reduce  the  foun¬ 
dation  mixture  to  the  proper  consistency,  with 
turpentine  only. 

Thikd,  or  other  Coats. — If  necessary  to  apply 
more  than  two  coats  of  white  lead  paint  to 
cover  the  surface,  the  same  preparation  as  for 
the  second  coat  may  be  used,  always  giving 
the  paint  time  to  harden  before  applying 
another  coat. 

White  Paint  for  Inside  Work.— Take  white 
lead  from  the  keg  and  mix  to  the  consistency 
of  cream  with  turpentine,  then  add  one-half 
pint  of  light-colored  carriage  varnish  to  every 
gallon  of  paint.  This=will  be  found  an  excellent 
feature  of  white  paint,  inasmuch  as  it  can  be 
washed  with  soapsuds,  and  easily  cleaned  when 
desired,  while  white  paints,  as  mixed  by  many 
paintef’s,  will  not  stand  a  soapsuds  washing. 

This  paint  is  intended  for  coating  over  an 
old  surface  ;  and  the  amateur  must  bear  in 


His  Own  Painter. 


53 


mind  that  all  new  wood  should  be  coated  with 
priming,  as  described  on  the  preceding  page, 
before  the  finishing  coats  are  applied. 

v 

Zinc  "White,  a  superior  white  for  finishing 
coats  over  white  lead  paint,  is  sometimes 
mixed  to  dry  “flat”  (the  house  painter’s 
term  for  paint  which  dries  without  a  gloss), 
and  used  in  the  same  manner  as  white  lead. 
But  a  beautiful  finish  may  be  given  to  parlors 
or  extra  work  in  houses  by  mixing  the  zinc  in 
white  damar  varnish,  forming  the  China  gloss 
of  commerce.  This  mixture  is  applied  when 
the  white  lead  paint  is  dry,  and  it  is  best  to 
“  flow  ”  it  on,  that  is,  lay  on  as  heavy  a  coat  as 
possible,  being  careful  to  brush  it  well  and 
quickly,  that  it  may  flow  or  settle  and  leave  nc 
brush  marks. 


OIL  COLOR  FOR  OUTSIDE  WORK, 

TO  BE  PROTECTED  BY  VARNISH. 

If  dry  pigments  are  used,  crush  the  lumps, 
and  mix  to  a  stiff  paste  with  turpentine,  on 


54 


Every  Man 


the  stone  ;  then  put  the  mass  in  the  paint 
mill  and  add  sufficient  Japan  dryer  to  reduce 
it  to  a  fluid  state — hut  not  too  thin,  as  it  will 
not  grind  easily.  When  ground  fine,  add 
linseed  oil  until  of  the  proper  consistency  to 
spread  nicely. 

Dead  or  flat  Color,  as  used  by  carriage 
painters  and  useful  on  any  work  which  will 
be  varnished,  is  made  in  a  similar  manner, 
leaving  out  the  oil  and  adding  a  few  spoonsful 
of  carriage  varnish  to  bind  the  paint  well ; 
then,  if  too  thick,  thinning  with  turpentine. 
This  paint  will  dry  in  fifteen  minutes,  and  is 
called  by  some  workmen  “  quick  color.” 

Colors  ground  in  oil,  and  put  up  in  tin 
boxes,  may  be  procured  at  almost  any  village 
store,  and  are  excellent  for  use  where  the 
paint  mill  is  not  accessible.  These  colors  are 
simply  diluted  with  oil  or  turpentine,  accord¬ 
ing  to  the  purpose  desired,  and  a  little  dryei 
added.  When  tints  from  white  are  desired, 


His  Own  Painter. 


5K 

these  colors  may  be  employed  with  great 
eeonomy. 

Let  the  workman  mix  a  tub  of  white  lead 
paint,  as  previously  shown,  and  to  this  mixture 
add  a  little  by  little  of  the  color  from  the  tin 
can  until  the  desired  shade  is  produced. 


PUTTY. 

Common  Window  Putty. — Mix  whiting  and 
linseed  oil  to  a  stiff  dough. 

Carriage  Painters’  Putty. — Take  dry  white 
lead  and  mix  with  one  part  brown  Japan  and 
one  part  carriage  rubbing  varnish.  A  com¬ 
mon  wagon  putty  is  made  by  using  whiting 
in  the  place  of  dry  white  lead  and  adding  a 
small  quantity  of  white  lead  in  oil,  from  the 
keg.  This  putty  should  be  kept  in  water  when 
not  in  use,  to  prevent  drying. 

Cementing  Putty,  for  water  or  gas  pipes. — 
Take  red  lead  and  white  lead,  equal  weight, 
and  mix  with  boiled  oil. 


56  Every  Man  His  Own  Painter. 


Potty  for  Furniture. — Mix  whiting,  Indian 
red  and  lampblack  in  equal  parts,  with  car¬ 
riage  varnish,  adding  a  small  piece  of  beeswax 
to  the  putty,  by  heating  the  same  and  pound¬ 
ing  it  well  with  a  mallet,  until  thoroughly 
amalgamated. 

Hardwood  Putty. — Take  fine  sawdust  of  the 
same  kind  of  wood,  and  mix  with  strong  glue. 

Putty  for  Walls. — Whiting  mixed  with 
glue,  or  calcined  plaster  (gypsum)  and  water. 


CHAPTER  VII. 


Itilk  faint. 


tOR  painting  in  rooms  where  the  smell 
of  oil  or  turpentine  would  be  objec¬ 
tionable,  a  preparation  may  be  made, 


as  follows  : 

Take  eight  ounces  of  freshly  slaked 


lime  and  mis  it  in  an  earthern  vessel  with 
three  quarts  of  skimmed,  not  sour  milk ;  then 
in  another  vessel  mix  three  and  a  half  pounds 
of  Paris  white  with  three  pints  of  the  milk. 
When  these  mixtures  are  well  stirred  up,  put 
them  together  and  add  sis  ounces  of  linseed 
oil.  Mix  these  well,  and  it  will  be  ready  for 
use.  This  preparation  is  considered  by  many 
to  be  equal  to  oil  paint,  and  is  excellent  for 


(571 


68 


Every  Man 


walls  and  ceilings.  Any  shade  may  be  made 
by  the  addition  of  dry  pigments. 

DISTEMPER  PAINTING. 

The  difference  between  oil  painting  and 
distemper  painting  is  that  in  the  latter  the 
colors  are  mixed  with  size  and  water,  instead 
of  oil. 

Size  for  this  work  is  generally  made  by 
boiling  pieces  of  parchment,  or  the  skins  of 
animals,  and  evaporating  the  solution  to  the 
proper  consistency  ;  but  a  solution  of  glue  will 
answer  every  purpose  of  the  amateur. 

The  colors  used  in  distemper  painting  are 
the  same  dry  colors  used  in  oil,  while  the 
foundation  or  base  is  whiting  instead  of 
white  lead. 

Kalsomining  comes  under  the  head  of  dis¬ 
temper  painting,  and  will  be  noticed  in  this 
connection.  The  first  requisite  is  to  have  the 
walls  perfectly  clean.  If  there  be  grease  or 
lime  on  any  part,  it  must  be  scraped,  and 


His  Own  Painter. 


59 


made  perfectly  smooth,  all  imperfections,  such 
as  cracks  or  nail  holes,  filled  with  a  putty 
made  with  plaster  of  Paris  or  whiting,  and 
time  allowed  for  the  putty  to  harden  before 
laying  on  the  distemper. 

Preparing  the  Mixture. — Take  half  a  pound 
of  dissolved  glue  and  ten  pounds  of  zinc  white 
(dry)'  if  for  extra  work,  or  common  whiting  if 
for  ordinary  work,  in  the  same  proportion.  Mix 
the  white  to  a  thick  cream  with  warm  water, 
then  add  the  dissolved  glue,  and  stir  all  well 
together.  If  for  side  walls,  more  glue  will  be 
required  to  insure  it  from  rubbing  off.  A 
common  whitewash  brush  will  answer  to  lay 
it  on  with,  and  it  should  be  applied  while  warm, 
adding  hot  water  to  thin  it  if  found  too  thick 
to  spread  easily. 

In  distemper  painting  it  may  be  found 
expedient  to  coat  the  walls  with  a  thin  sizing 
of  glue  before  applying  the  paint,  and  some 
painters  prefer  a  coat  of  good  oil  paint  to  pre- 


60 


Every  Man 


vent  dampness  from  striking  out  and  discolor¬ 
ing  the  distemper  coats. 

Coloring  plaster  work  in  distemper  differs 
from  fresco  painting,  inasmuch  as  the  latter  is 
applied  while  the  plaster  is  quite  wet,  and  is 
thereby  incorporated  with  it,  whilst  the 
former  is  applied  when  the  plaster  is  dry,  and 
lasts  only  so  long  as  the  sizing  with  which  the 
colors  are  bound  withstands  the  action  of  the 
atmosphere. 

I  believe  it  is  generally  understood,  that 
with  a  judicious  admixture  of  the  primitive 
colors,  red,  blue,  yellow,  and  white,  any  tint 
can  be  produced,  especially  the  various  shades 
and  tints  of  drabs,  which  are  most  in  demand. 
The  color  called  French  gray  is  made  by  add¬ 
ing  a  small  quantity  of  indigo  to  the  white 
distemper  paint. 

It  was  the  practice  of  painters  until  of  late 
years,  to  lay  distemper  colors  evenly,  one  way 
only,  as  in  oil  painting  ;  but  the  present 
method  is  to  pass  the  brush  in  every  indis- 


His  Own  Painter. 


61 


criminate  direction,  leaving  it  in  that  state 
which  it  is  considered  gives  it  a  more  solid 
appearance.  A  more  recent  method  for  ob¬ 
taining  the  like  object  is  called  stippling.  The 
surface  is  lightly  struck  with  the  end  of  a 
large  hog’s-hair  brush,  with  a  perfectly  flat 
face  and  conveniently  shaped  handle. 

The  expense  attending  the  kalsomining  of  a 
room  twelve  by  fifteen  may  be  summed  up 
as  follows  : 


One  half  pound  glue  at  25  cents  per  pound .  0. 12 

Ten  pounds  whiting  at  three  cents  per  pound  .  .0.30 

One  half  pound  glue,— extra  to  side  walls  . 0.12 

Whitewash  brush . 1. 00 

$  ^  $1.54 


The  brush  being  uninjured,  when  used  only 
on  this  room,  is  of  course  not  to  be  taken  into 
account  as  the  actual  cost  of  work,  and  its 
price  should  be  deducted,  making  fifty-four 
cents  the  sum  total.  -Ten  cents  worth  of  blue, 
yellow,  red,  green,  etc.,  in  dry  colors,  will 
form  any  desired  tint. 


62 


Evert  Man 


PAINT  FOR  BARNS  AND  OUTBUILDINGS. 

A  cheap  and  durable  paint,  not  before  men¬ 
tioned  in  these  pages,  is  called  Fire-proof  or 
Mineral  paint.  There  are  several  shades  of 
this  paint,  namely,  Yellow,  Red,  Brown, 
Chocolate,  Slate,  etc.,  and  it  is  sold  in  barrels 
of  three  hundred  pounds  each,  for  two  and  a 
half  cents  per  pound.  When  mixed  with 
oil  it  is  a  very  durable  paint  for  outbuildings, 
fences,  etc. 

But  a  cheaji  paint  may  be  made  as  follows  : 

Put  half  a  bushel  of  good  lime  in  a  clean 
barrel,  and  add  to  it  sufficient  water  to  make 
a  thin  whitewash  ;  stir  it  well  with  a  flattened 
stick  until  every  lump  of  lime  is  dissolved, 
and  add  : 

50  lbs.  mineral  paint  at  two  and  a  half  cents _ $1.25 

50  lbs.  whiting,  at  two  cents .  1  00 

50  lbs.  road  dust,  finely  sifted .  00 

Then  add  linseed  oil,  and  mix  the  mass  to  a 
thick  paste,  being  careful  to  have  it  well  amal¬ 
gamated  ;  then  thin  to  the  proper  consistency 


His  Own  Painter. 


63 


for  spreading  with  the  brush,  by  adding 
sweet  buttermilk  fresh  from  the  churn,  in 
small  quantities  at  a  time,  to  give  chance  for 
the  ingredients  to  assimilate.  This  paint  will 
also  be  improved  as  regards  covering  a  great 
extent  of  surface,  by  the  addition  of  one 
gallon  of  soft  soap. 


PAINT  FOR  IRON  FENCES. 

Mix  two  pounds  chrome  green,  one  ounce 
of  lampblack,  and  one  ounce  of  chrome  yellow, 
with  boiled  oil,  adding  a  little  Japan  dryer, 
and  a  very  nice  bronze  green  will  result. 
Clean  the  iron  railing  well,  and  apply  a  good 
coat  of  this  paint.  When  not  quite  dry,  rub 
over  the  prominent  parts  -with  gold  bronze. 
(See  Bronzing.) 

WHITEWASH. 

A  good  whitewash  for  walls  is  made  by 
adding  to  fresh  slaked  lime  and  water  a 


64 


Every  Man 


solution  of  starch,  a  little  salt,  and  a  few  drops 
of  dissolved  indigo  or  bluing. 

Boil  the  starch  tc  a  thin  gruel,  adding  the 
salt  while  boiling,  and  pour  the  whole  into 
the  lime  and  water  while  the  latter  is  warm 
from  the  heat  engendered  while  slaking  ;  then 
add  the  bluing  to  remove  the  yellow  tint  of 
the  mixture,  and  use.  Colors  may  be  added  if 
desired,  but  the  use  of  poisonous  colors,  such 
as  Paris  green,  should  be  avoided. 


SIZING  FOR  WALLS 

Size  to  make  paper  stick  to  walls  is  made 
by  adding  eight  ounces  of  dissolved  glue- to  a 
pail  full  of  hot  water.  Apply  the  preparation 
to  the  wall  with  a  whitewash  brush,  being 
particular  to  touch  every  part,  especially  the 
top  and  bottom  ;  allow  it  to  dry  a  little  and 
then  hang  the  paper,  using  paste  made  as 
follows  : 


His  Own  Painter. 


65 


PASTE  FOR  PAPER  HANGING. 

For  a  room  which  will  require  eight  or  nine 
pieces  of  paper,  four  pounds  of  flour  will  be 
sufficient.  This  should  be  beaten  into  a  stiff 
batter  with  clear  cold  water.  Then,  having  a 
vessel  full  of  boiling  water  at  hand,  and  a 
vessel  containing  the  batter,  large  enough  to 
contain  two  pails  full,  pour  the  boiling  water 
upon  the  batter,  stirring  it  briskly,  and  it  will 
be  observed  that  the  batter  will  swell  and  its 
white  color  change  to  a  yellowish  hue.  When 
this  occurs,  stop  pouring  in  the  boiling  water, 
and  a  fine  smooth  paste  will  be  found,  suitable 
for  any  description  of  paper  hanging.  Some 
persons  add  alum  to  the  paste,  others  resin, 
but  it  will  be  found  that  the  scalded  flour  will 
stick  as  well,  and  no  injury  can  occur  to  the 
paper,  as  is  frequently  experienced  when  use* 
ing  flocked  paper  hangings  with  alum  or  resin 
in  the  paste.  Another  method  of  making 
paste,  but  not  as  certain  of  good  results,  is  to 
5 


66 


Every  Man 


mix  the  flour  and  cold  water  to  the  consis¬ 
tency  of  milk,  and  heat  it  to  the  boiling  point, 
over  a  slow  fire. 


HANGING  PAPER. 

The  first  consideration  is  to  have  the  wall 
well  cleaned,  the  old  paper  or  whitewash 
scraped  off,  all  cracks  filled  with  plaster  of 
Paris,  and  allowed  time  to  dry,  then  the  sizing, 
as  previously  spoken  of,  applied ;  then  with 
a  sharp  pair  of  scissors  cut  the  blank  strips 
from  the  left  side  of  the  paper,  the  blank  strip 
on  the  other  side  forming  the  lap  ;  or,  if  heavy 
flocked  paper,  both  edges  should  be  cut  and 
the  paper  put  on  the  wall  without  overlapping. 
Now,  having  cut  the  paper  the  length  desired, 
lay  it  face  down  on  a  table  or  board,  and 
appty  the  paste  with  a  paste  brush ;  or  a 
common  whitewash  brush  will  answer,  spread¬ 
ing  it  evenly  and  as  quickly  as  possible.  Then 
place  it  in  position  on  the  wall,  beginning  to 
press  it  gently  down  to  the  same,  with  a  damp 


His  Own  Painter. 


67 


cloth,  at  the  top,  following  down  until  the 
bottom  is  reached.  Continue  in  this  manner, 
being  careful  to  match  the  figures,  until  the 
whole  is  covered  ;  then  cut  out  and  paste  on 
the  border,  and  the  work  is  complete.  It  is 
usual  to  have  the  strips  of  paper  a  little  longer 
than  is  necessary,  so  that  it  can  be  cut  off 
neatly  at  the  base  board,  after  it  is  put  on, 
as  the  base  board  is  not  always  straight  or 
parallel  with  the  ceiling. 


CHAPTER  VIII. 

draining. 

describing  tbe  methods  of  imitating  the 

grain  of  wood,  I  will  mention  only  the 

•  * 

simplest,  that  the  uninitiated  in  the  art 
may  readily  execute  a  fair  specimen, 
without  the  array  of  tools  employed  by 
the  professional  grainer. 

The  colors  used  in  graining  may  be  mixed 
in  oil  or  distemper,  the  latter  being  preferable, 
for  if  not  satisfied  with  the  first  attempt,  it  is 
easily  washed  off  with  water,  and  the  work 
done  over  again. 

Surfaces  to  be  grained  should  be  painted 
with  at  least  two  coats  of  paint,  as  describ  d 
on  page  51,  tinted  as  follows  : 


Every  Man  His  Own  Painter.  69 


For  light-colored  oak,  tint  the  white  paint 
with  yellow  ochre,  to  a  nice  cream  color. 

For  medium  shade  oak,  add  a  little  umber 
to  the  cream  color. 

For  dark  shade  oak,  add  umber  and  a  little 
Venetian  red  to  the  cream  color. 

The  last  coat,  or  ground  color,  should  be 
made  to  dry  with  an  “  egg-shell  gloss,”  not 
“fiat”  that  the  graining  mixture  will  not  be 
absorbed,  and  thereby  make  the  graining 
appear  dirty. 

GRAINING  MIXTURE  IN  DISTEMPER. 

Take  equal  parts  of  yellow  ochre,  brant  si¬ 
enna,  and  raw  umber,  and  mix  with  ale,  beer,  or 
vinegar  and  sugar.  Then  with  a  bristle  brush 
spread  on  the  mixture — or  as  termed  by  grain- 
ers,  “  rub  in  ”  as  smooth  and  evenly  as  possible; 
or,  it  may  be  applied  with  a  sponge,  going 
over  only  a  small  portion  or  panel  at  a  time, 
for  the  distemper  colors  dry  quickly.  Then 
with  a  graining  comb  made  of  leather  or 


70 


Every  Man 


gutta  percha,  make  tlie  coarse  grain  by  draw¬ 
ing  the  comb  over  the  surface  in  a  zigzag 
manner ,  then  with  a  finer  steel  graining 
comb  draw  over  the  whole  panel  again  in  the 
same  direction  ;  then  with  a  piece  of  soft 
muslin  folded  over  the  thumb  of  the  right 
hand,  make  the  heavy  grain  or  figures -by 
wiping  out  the  graining  mixture  ;  this  done, 
lightly  pass  the  fine  comb  over  the  work  again, 
or  with  a  thin  flat  bristle  brush,  lightly  brush 
over  the  surface  to  blend  or  soften  the  heavy 
lines.  Proceed  in  this  manner  over  all  the 
parts  to  be  grained,  and  by  imitating  the  real 
wood  as  near  as  possible,  a  very  fair  piece  of 
work  will  result.  A  professional  grainer  would 
overgrain,  and  mottle,  and  stain,  and  glaze, 
etc.,  but  as  a  description  of  these  processes 
would  tend  to  embarrass  the  amateur,  I  do  not 
deem  it  judicious  to  extend  upon  these 
extras. 


His  Own  Painter. 


71 


OAK  IN  OIL. 

Melt  a  small  piece  of  beeswax  in  a  little 
linseed  oil,  mix  the  graining  colors  with  it, 
and  thin  with  turpentine,  using  the  same 
pigments  as  above.  Other  woods  are  imitated 
in  a  similar  manner,  varying  the  ground  and 
graining  mixture  to  suit. 

Maple. — The  best  ground  for  maple  is  a  light 
cream,  and  the  graining  color  made  with  Van¬ 
dyke  brown,  and  raw  sienna. 

Mahogany. — Ground  Venetian,  red  and  yel¬ 
low,  graining  mixture,  Vandyke  brown,  and 
burnt  sienna. 

Rosewood. — Grain  with  burnt  umber,  over  a 
ground  of  Indian  red  lightened  a  little  with 
vermilion,  then  glaze  over  with  carmine  or  lake. 

Black  Walnut. — Ground  color,  burnt  umber 
and  white.  Grain  with  burnt  umber. 


STAINING. 

Take  nitric  acid  and  dilute  with  ten  parts 
water  ;  wash  the  wood  over  with  it,  using  a 


72 


Every  Man 


piece  of  sponge  tied  to  a  stick,  and  use  care 
that  the  acid  does  not  get  on  the  hands. 
This  will  produce  a  fine  mahogany  color. 

To  produce  a  rosewood  finish,  grain  the 
stained  wood  with  burnt  umber,  and  glaze  with 
carmine  or  lake. 

Asphaltum  thinned  with  turpentine  will 
stain  pine  a  beautiful  black  walnut  color. 
Stained  wood  must  be  varnished  over. 


IMITATION  OF  GRANITE. 

Prepare  a  light  drab  ground,  then  take  a 
stiff  paint  brush  dipped  in  thick  white  paint 
and  spatter  the  ground  over  it,  by  striking  the 
brush  against  a  stick  held  in  the  left  hand. 
When  well  spattered  with  small  fine  white 
spots,  go  over  it  again  in  the  same  manner 
with  black  paint.  This  will  give  the  required 
imitation,  and  is  a  very  simple  process. 

Brown  Stone,  Portland  Stone,  &c.,  may  be 
imitated  by  coating  the  work  over  with  clear 


His  Own  Painter. 


73 


oil  color,  the  shade  desired,  and  then  sifting 
or  dashing  clean  white  sea  sand  over  it. 

SMALTING. 

Smalts  are  ground  glass,  or  other  substance 
of  various  colors,  black,  blue  and  green, 
being  the  colors  most  commonly  used.  If  a 
signboard  is  to  be  smalted,  it  .must  be  painted 
•with  two  or  three  coats  of  white  or  lead 
colored  paint ;  then  the  letters  must  be  put 
on,  roughly  outlined  and  gilded.  Then  mix  a 
stiff  oil  color  as  near  the  color  of  the  smalts  to 
be  used,  as  possible,  and  with  a  sable-hair 
pencil  paint  the  whole  surface  of  the  sign  out¬ 
side  of  the  letters,  cutting  around  each  letter 
neatly,  and  then  with  a  fine  sieve  the  smalts 
are  sifted  on  to  the  fresh  paint,  allowing  the 
sign  to  lie  in  a  horizontal  position  until  suffi¬ 
ciently  dry  to  retain  the  smalts  when  raised 
perpendicularly  ;  dust  off  with  a  soft  brush 
all  superabundant  smalts,  and  the  work  is 
completed. 


74 


Every  Man 


Floorings  is  a  finely  powdered  wool,  and  is 
used  in  the  same  manner  as  smalts.  They 
retail  for  one  dollar  per  pound,  average. 


MARBLING. 

A  fine  white  marble  imitation  is  made  by 
painting  the  work  with  white  lead  paint, 
finishing  it  with  China  gloss.  Then  when  dry 
and  hard  rub  the  surface  until  smooth  with 
fine  pumice-stone  and  water,  wash  clean,  dry 
well,  and  then  holding  a  lighted  candle  near 
the  surface,  allow  the  smoke  to  form  the 
various  shades,  tints,  and  veins  desired.  A 
black  crayon  may  also  be  used  to  form  fine 
irregular  lines ;  then  with  a  very  soft  hair 
varnish  brush  apply  a  light  coat  of  white 
Damar  varnish,  being  very  careful  hot  to 
disturb  the  smoked  figures. 

Black  or  variegated  marble  is  made  by 
streaking  the  surface  with  colors  mixed  with 


His  Own  Painter. 


75 


carriage  varnish  and  turpentine,  using  a 
feather  to  form  the  fine  lines,  and  a  sponge  or 
crumpled  paper  smeared  with  color  and  then 
daubed  on  the  work. 


CHAPTER  IX. 

(Stlbiitg. 

'OLD  leaf  may  be  procured  at  any  sup- 
pT  ply  store,  in  boots,  containing  twenty 
five  leaves,  eacli  three  inches  square. 
The  price  per  book  at  the  time  of 
this  writing  is  fifty  cents.  The  gold 
is  beaten  out  with  a  hammer  to  a  surprising 
degree  of  thinness,  rendering  its  use  a  matter 
of  difficulty  to  the  inexperienced. 

When  letters,  or  ornamental  work  on  a  flat 
surface,  are  to  be  gilded,  it  will  be  found  a 
very  delicate  operation  to  lay  the  gold  without 
waste,  in  the  same  manner  as  a  professional 
gilder;  and  the  following  method  of  preparing 
the  leaf  will  be  best  for  the  beginner.  Pro- 
(76) 


Every  Man  His  Own  Painter.  77 


cure  a  clean  sheet  of  tissue  paper  and  rub  it 
over  on  one  side  with  a  piece  of  white  wax,  or 
common  beeswax  will  answer.  The  paper 
must  be  placed  on  a  smooth  board  and  the 
wax  rubbed  briskly  over  the  surface,  until 
the  paper  has-  received  an  even  coating  ;  to 
this  the  gold  will  adhere.  The  paper  must  then 
be  cut  into  squares  a  little  larger  than  the 
gold  leaf ;  then  carefully  open  the  book  of 
gold  and  lay  the  waxed  side  of  the  tissue  paper 
on  the  gold,  which  will  be  thus  secured  and 
ready  for  use.  Continue  with  the  whole 
twenty-five  leaves,  and  the  tissue  paper  may 
be  used  over  and  over  again. 

To  use  this  Prepared  Leaf. — When  the 
size  which  we  will  suppose  to  have  been  laid 
on  in  the  desired  form,  is  tacky,  that  is,  when 
by  rubbing  gently  over  it,  it  appears  dry,  but 
when  the  finger  is  placed  directly  upon  it,  it 
is  “  sticky,”  we  take  the  tissue  paper  in  the 
left  hand,  and  with  the  right  gently  press  the 
gilded  side  to  the  work.  The  operator  will  be 


78 


Every  Man 


able  to  see  where  any  portion  of  the  gold  re¬ 
mains  on  the  waxed  paper  and  can  place  it  on 
parts  of  the  work  that  it  will  fit  best,  thereby 
saving  every  particle  of  gold,  without  the 
slightest  trace  of  joining  being  perceptible. 

For  large  work  not  exposed  to  the  wind, 
the  leaf  may  be  laid  directly  from  the  book. 
To  do  this,  take  the  book  in  the  left  hand, 
raise  a  paper  leaf  carefully,  then,  holding  the 
book  close  to  the  work  with  its  front  edge 
pointing  downward,  gently  roll  the  same  up¬ 
ward,  leaving  the  gold  leaf  on  the  size.  Con¬ 
tinue  in  this  manner  until  the  work  is  com¬ 
pleted.  When  the  leaf  has  been  laid  upon 
the  size,  slightly  moisten  the  end  of  the  finger 
by  rubbing  across  the  head,  and  the  pieces  of 
superfluous  gold  leaf  will  adhere  to  it  and  can 
be  carefully  placed  on  any  small  spots  not 
covered  ;  then  with  a  bunch  of  cotton  gently 
wipe  the  work  over,  to  remove  all  the  gold  not 
secured  by  the  size. 

A  preliminary  process  of  laying  gold  having 


His  Own  Painter. 


79" 


been  unnoticed,  I  will  now  mention  it.. 
When  a  painted  surface  is  to  be  gilded,  it 
must  be  prepared,  to  prevent  the  gold  from 
sticking  to  any  part  not  covered  with  size.. 
This  is  done  in  various  ways.  Some  painters 
wash  the  surface  over  with  a  thin  solution  of 
starch,  allowing  it  to  dry  before  putting  on 
the  size.  Others  rub  the  surface  with  a 
potatoe  cut  in  slices,  forming  a  watery  film  of 
starch,  which,  when  dry,  is  anti-adhesive.  But 
the  method  employed  by  first-class  workmen 
is  as  follows. 

Tie  up  in  a  piece  of  muslin  a  small  quantity 
of  common  whiting,  forming  a  “  pounce  bag,” 
with  which  the  surface  is  daubed  or  pounced 
over,  and  a  thin  coating  of  the  powder  is  left 
upon  it,  which  effectually  prevents  the  adhe¬ 
sion  of  the  gold.  The  sizing  is  now  put  on  as 
desired,  and  when  it  is  “  tacky  ”  the  gold  leaf 
is  laid.  If  the  size  is  not  in  a  proper  state  to 
receive  the  gold,  the  work  will  be  rough  and 
unsightly,  or  when  too  dry  the  gold  will  not 


80 


Every  Man 


adhere  to  it.  Either  of  the  preventives  may 
be  easily  cleaned  off,  with  water,  when  the 
gilding  is  completed,  using  afterwards  a  soft 
chamois  shin  to  dry  the  surface. 

When  gilding  is  to  be  done  on  a  white  or 
light-colored  surface,  it  is  best  to  add  a  little 
dry  color  to  the  size,  but  for  dark  grounds 
dusted  over  with  whiting,  no  color  will  be 
necessary. 

Silver  leaf  is  also  put  up  in  books,  but  as 
it  is  not  beaten  so  thin  it  may  be  handled 
with  less  trouble. 

Dutch  Metal  is  a  poor  imitation  of  gold 
leaf,  worthless  to  the  painter,  except  in  scenery 
for  theatres  or  cheap  temporary  work. 

Gilding  on  Glass. — This  process  is  fully 
explained  in  the  “  Carriage  Painters’  Manual.” 
Therefore  I  wrill  only  mention  it  here. 

The  size  used  is  dissolved  isinglass,  or  the 
white  of  an  egg,  or  clear  water.  The  gold 
leaf  is  generally  laid  on  with  a  “tip  ”  (a  thin 
layer  of  camels’-liair  glued  between  two  cards. ) 


His  Own  Painter. 


81 


Gilding  Picture  Frames. -—This  art  is  not 
connected  with  the  painter’s  business,  in  any 
particular,  although  such  articles  may  le 
gilded  by  the  painters’  method  of  gilding  ;  but 
the  fine  finish — such  as  burnishing,  matting, 
etc.,  cannot  be  produced,  and  it  is  therefore 
best  to  leave  such  work  with  the  frame  and 
moulding  gilder. 


BRONZING. 

Gold  Bronze  is  a  fine  powder  made  by 
grinding  gold  leaf  or  foil  in  honey,  and  then 
washing  and  drying  the  sediment.  The  size 
used  for  bronze  is  the  same  as  that  for  gold 
leaf,  and  it  is  put  on  by  dusting  or  rubbing  it 
over  the  size  with  a  velvet  or  plush  pounce 
bag.  In  some  cases  it  is  used  in  the  same 
manner  as  dry  color,  being  mixed  with  varnish 
and  turpentine  ;  but  its  metallic  lustre  is  not 
so  good  when  used  in  that  way.  Silver,  cop¬ 
per,  and  various  colored  bronze  powders  are 
used  in  ornamental  work.  And  some  very 


82 


Every  Man 


His  Own  Painter. 


83 


84 


Every  Man 


fine  specimens  of  work  are  done  with  bronze 
powders  put  on  over  stencil  plates. 

STENCILING. 

By  this  art  the  painter  may  execute  orna¬ 
mental  work  quickly  and  economically.  The 
articles  required  in  making  a  stencil  are,  a 
sheet  of  well-sized  writing-paper,  a  lead  pencil, 
and  a  sharp  penknife.  Fold  the  paper,  allow¬ 
ing  the  edge  of  the  fold  to  form  the  centre  of 
the  pattern  ;  then  sketch  any  design  you  wish, 
leaving  bars  to  hold  the  parts  together,  as  seen 
in  the  engraving  herewith  ;  then  lay  the  paper 
upon  a  piece  of  glass  and  cut  out  the  figure 
with  the  penknife.  Patterns  similar  to  these 
may  be  used  in  ornamenting  oil  cloths,  painted 
floors,  curtains,  borders  for  walls,  and  other 
purposes. 

To  make  a  stencil  for  two  or  more  colors, 
take  the  ivhole  figure  stencil,  and  laying  it  on 
another  piece  of  paper,  mark  it  carefully  around ; 
then  cut  out  the  parts  desired  to  be  shown  in 


His  Own  Painter. 


85 


one  color,  leaving  the  other  parts  uncut. 
Then  stencil  with  a  brush  the  whole  figure 
again  on  another  sheet,  and  also  the  partly  cut 
stencil  over  that ;  cut  out  all  but  the  parts 
covered  by  the  last  stenciling,  and  you  will 
have  two  stencils,  which  when  put  on  the 
work,  one  over  the  other,  will  form  the  whole 
figure  or  pattern,  and  thus  they  may  be  multi¬ 
plied  indefinitely. 

Another  method  of  stenciling,  nearly  th» 
reverse  of  the  above,  is  used  in  imitating 
ground  glass.  Draw  the  desired  figure,  and 
cut  it  out  of  the  paper,  saving  the  figure  com¬ 
plete,  not  the  hole  in  the  paper  as  before  ;  then 
with  thin  paste  or  gum,  stick  the  paper  to 
the  glass,  having  every  part  well  pressed  down ; 
then  with  a  stencil  brush  dipped  in  thick 
white  paint  pounce  with  the  end  of  the  brush, 
or  “  stipple  ”  as  it  is  termed,  the  glass  all 
over.  "When  dry,  raise  the  paper  by  putting 
the  blade  of  a  knife  under  it,  and  the  figure 
will  be  found  clearly  defined  on  the  glass, 


86 


Every  Man 


Lines  or  stripes  may  be  added  around  the 
edge  of  the  glass  by  scraping  thiough  the 
white  paint  with  a  stick  drawn  along  a  rule  or 
“  straight  edge.” 

TRANSFERRING. 

Transferring  pictures  from  paper  to  painted 
surfaces  is  an  art  easily  acquired,  and  many 
beautiful  jobs  may  be  executed  by  it.  The 
process  is  as  follows  :  The  ground  should  be 
white  or  light  colored  and  smoothly  Tarnished  ; 
then  lay  on  an  even  coat  of  light-colored  car¬ 
riage  varnish  and  allow  it  to  set  (nearly  as 
ilry  as  if  for  gilding). 

The  paper  must  now  be  prepared.  If  a 
colored  print,  make  it  quite  wet  in  salt  and 
water,  but  if  not  colored,  clear  water  will  an¬ 
swer.  Lay  it  between  some  old  newspapers,  to 
remove  the  water  from  its  surface.  Now,  sup¬ 
posing  the  varnish  to  be  sufficiently  set,  carefully 
lay  the  paper,  face  down  upon  it,  and  gently 
press  it  smooth  all  over.  When  this  is  done, 


His  Own  Painter. 


87 


allow  it  to  stand  until  the  varnish  is  dry  ; 
then  dampen  the  paper  with  cold  water  and 
begin  removing  the  paper  by  rubbing  with  the 
finger.  It  will  be  found  to  roll  up  in  small 
rolls  ;  and  this  wetting  and  rubbing  must  be 
carefully  continued  until  the  whole  of  the 
paper  is  removed,  when  the  picture  will  be 
found  intact  upon  the  paint.  It  must  then 
be  varnished  over  to  bring  out  its  beauty. 

Pictures  may  be  transferred  to  glass  in  the 
same  manner,  and  then  colored  on  the  back 
with  oil  colors,  forming  an  imperishable  pic¬ 
ture,  almost  equal  to  an  oil  painting  in  point 
of  beauty. 


DECALCOMANIE. 

This  is  another  method  of  transferring,  the 
pictures  being  prepared  expressly  for  the  pur¬ 
pose. 

The  varnish  used  is  called  cementing  var¬ 
nish,  and  can  be  procured  where  the  pictures 
are  for  sale.  The  face  of  the  picture  is  coated 


88 


Every  Man 


over  with  the  varnish,  and  it  is  then  placed 
directly  upon  the  place  desired.  Press  it 
gently  down  to  the  work,  then  dampen  the 
paper,  and  begin  its  removal  by  lilting  one 
corner  and  slowly  raising  the  entire  paper 
from  the  surface,  leaving  the  picture  intact. 
A  solvent  for  the  superabundant  varnish  is 
next  applied  with  a  soft  brush.  It  is  called 
“  detergent,”  and  can  be  purchased  with  the 
varnish.  This  removes  all  varnish  outside 
of  the  picture,  and  does  not  injure  the  picture 
or  the  varnish  under  it.  Vases,  china  ware, 
glass,  and  fancy  boxes  may  be  ornamented  in 
this  manner,  and  the  picture  will  have  every 
appearance  of  the  finest  artist’s  work.  The 
ornamental  work  on  carriages  is  frequently 
done  by  this  process.  Decalcomanie  pictures 
which  are  covered  with  gold  leaf  on  the  back 
are  best,  and  the  student  in  this  art  may  pro¬ 
cure  catalogues  of  the  pictures,  with  size  and 
price  attached,  from  the  dealers.  (See  other 
pages.) 


His  Own  Painter. 


89 


TRANSPARENT  PAINTING  ON  MUSLIN 
WINDOW  SHADES. 

Stretch  the  muslin  on  a  frame  and  secure  it 
by  tacking  around  the  edge.  Then  mix  a 
small  quantity  of  fine  flour  paste,  into  which 
is  added  a  little  dissolved  white  glue  and  a 
small  piece  of  white  bar  soap ;  the  latter 
article  will  render  the  muslin  pliable  and 
soft.  Spread  a  thin  and  even  coating  of  this 
over  the  muslin,  and  set  aside  to  dry. 

Then  a  coat  of  pure  linseed  oil,  diluted  with 
turpentine,  is  applied  to  the  whole  or  part  as 
desired,  laying  it  on  quickly  and  smoothly  to 
ensure  an  even,  transparent  surface. 

The  colors  used  are,  Drop  or  Ivory  Black, 
Umber,  Ultramarine,  Paris  Green,  Verdigris, 
Sienna,  Asphaltum,  and  any  other  transpar¬ 
ent  colors. 

An  outline  of  the  design  is  drawn  with  a 
small  pencil,  with  black  or  umber,  after  which 
the  colors  may  be  applied,  more  or  less  diluted, 
as  more  or  less  transparency  is  desired. 


00 


Every  Man 


In  general  the  brightest  colors  should  be 
applied  first,  and  the  darker  shades  over 
them. 

These  colors  shoidd  be  laid  evenly,  with 
soft  brushes,  and  should  any  part  be  made 
too  dark,  the  best  way  is  to  scrape  oft’  with  a 
stick  before  the  color  gets  dry. 

Glass  slides  for  the  magic  lantern  may  be 
done  in  a  similar  manner. 


PEARL  INLAYING,  OR  PAPIER  MACHE. 

This  is  a  beautiful  art,  and  useful  for  the 
ornamentation  of  boxes,  table  tops,  sewing 
machines,  etc.  Prepare  the  work  by  coating 
it  with  a  heavy  flowing  coat  of  black  Japan ; 
then  before  it  is  dry,  procure  some  flakes  of 
pearl  at  the  supply  store,  and  lay  them  on 
the  black  surface,  pressing  them  also  into  the 
paint  until  they  are  level  with  the  surface  ; 
then  with  colors,  form  leaves  and  flowers, 
allowing  the  pearl  to  form  the  body  of  the 
flower  or  leaf,  and  shade  all  up  nicely. 


His  Own  Painter. 


91 


Pearl  is  also  used  in  Glass  Sign  lettering, 
a  full  description  of  which  may  be  found  in 
the  Carriage  Painters’  Manual. 

MAKING  A  RUSTIC  PICTURE. 

A  neat  and  attractive  picture  may  be  made 
to  ornament  the  parlor  or  sitting-room  as 
follows  :  Gather  from  the  conservatory  a 
variety  of  small  leaves  and  buds,  and  lay 
them  between  the  leaves  of  an  old  book  to 
flatten  or  press  them,  putting  a  large  stone  or 
other  weight  upon  the  book  to  hasten  the 
process.  Then  procure  a  sheet  of  fine  un¬ 
calendered  drawing-paper,  and  removing  the 
leaves  from  the  book,  arrange  them  to  form 
a  bouquet  on  the  paper,  which  must  be  laid 
smoothly  upon  a  soft  wood  surface,  and  the 
leaves  be  held  firmly  to  the  paper  by  pins, 
put  through  every  part  not  closely  pressed 
to  the  same.  Then,  when  all  arranged  and 
pinned  fast,  take  a  tooth  brush  or  similar 
article,  and  slightly  wetting  the  bristles 


92 


Every  Man 


with,  black  writing  ink,  draw  it  across  a  small 
stick  in  such  a  manner  that  the  bristles  will 
be  bent,  and  then  quickly  released  to  take 
their  original  position.  This  will  cause  a  fine 
spatter  of  the  ink  upon  the  paper  ;  care  must 
be  taken  to  not  overload  the  brush  with  ink, 
to  make  too  large  drops  of  ink.  Continue  the 
spattering  over  all,  leaves,  pins,  and  paper, 
allowing  the  centre  of  the  pattern  to  receive 
the  most  ink,  and  the  edges  blending  off 
to  none  ;  when  done,  remove  the  pins  and 
leaves,  and  the  forms  of  each  leaf,  stem  and 
vine  will  be  found  in  pure  white  on  a  tinted 
ground. 

The  leaves  may  be  used  over  and  over  again, 
and  figures  cut  out  of  paper  may  sometimes 
be  added,  if  desired,  as,  for  instance,  a  cross, 
with  the  vines  and  leaves  neatly  arranged 
around  it,  or  an  old  archway  with  trailing  vines. 

This  style  of  picture  is  new,  and  when  put 
in  a  rustic  wood  frame  forms  a  very  hand¬ 
some  and  original  ornament. 


His  Own  Painter. 


93 


PAINTING  FLOWER  STANDS. 

It  is  customary  to  paint  stands  on  which 
flower  pots  are  to  stand,  a  bright  green  color  ; 
but  the  artist  would  never  advise  that  color 
for  the  purpose,  as  the  brilliancy  of  the  paint 
has  an  injurious  effect  upon  the  colors  of  the 
flowers  and  leaves.  Therefore,  when  a  flower 
stand  is  to  be  painted,  it  will  be  best  to  choose 
a  dull  color,  if  the  flowers  are  to  be  the 
prominent  feature. 

A  rich  brown,  chocolate,  oak,  black  walnut 
or  umber  color  will  harmonize  well,  and  the 
green  of  the  plants  and  leaves  will  appear 
richer  and  more  pleasing  to  the  eye. 

POLISH  FOR  MAHOGANY. 

Take  three  ounces  of  white  wax,  one  and  a 
half  ounce  of  castile  soap  and  one  gill  of  tur¬ 
pentine.  Shave  the  wax  and  soap  very  fine, 
put  the  wax  to  the  turpentine  and  let  it 
stand  twenty-four  hours  ;  then  boil  the  soap 
in  one  gill  of  water,  and  when  thoroughly 


94 


Every  Man 


dissolved,  put  the  two  mixtures  together  ;  rub 
this  over  the  wood,  and  a  fine  polish  will  be 
produced. 


POLISH  FOR  WOOD. 

Take  a  strip  of  woollen  cloth  fiwo  yards 
long  and  two  inches  wide,  and  roll  it  into  a 
tight  roll,  then  tie  another  piece  of  the  same 
over  the  roll,  covering  one  end  smoothly  and 
allowing  the  cloth  to  extend  beyond  the  other 
end  to  form  a  handle  to  hold  it  with  while 
rubbing.  Then  saturate  the  flat  end  with 
boiled  linseed  oil,  adding  at  the  same  time  a 
few  drops  of  shellac  varnish.  Rub  the  wood 
with  this  in  a  circular  manner,  renewing  the 
oil  and  varnish  as  occasion  requires,  until  a 
fine  polish  is  obtained. 

VARNISHING  FURNITURE. 

When  furniture  requires  re-varnishing,  it 
should  be  thoroughly  cleaned,  by  rubbing 
every  part  with  pulverized  pumice  stone  and 


His  Own  Painter. 


95 


water  ;  then  when  well  washed  and  dried, 
the  varnish  should  be  laid  on  in  a  warm  room. 
Furniture  varnish,  as  obtained  from  the  store, 
is  generally  ready  for  use  ;  but  if  found  too  thick 
to  spread  easily  with  a  brush,  set  the  varnish 
vessel  near  the  fire,  being  careful  that  it  may 
not  ignite. 

Put  the  varnish  on  quite  plentifully  and 
rub  it  lightly  with  the  brush  until  nicely 
levelled  down,  and  there  are  no  small  air  bub¬ 
bles  on  the  surface.  Do  not  touch  the 
varnished  surface  with  the  brush  after  once 
leaving  it.  If  more  than  one  coat  of  varnish 
is  requisite  to  produce  the  desired  polish,  the 
surface  should  be  rubbed  over  with  pumice 
stone  and  water,  between  each  coat,  to  remove 
small  pits  or  imperfections,  and  to  form  a 
better  ground  on  which  to  flow  the  succeed¬ 
ing  coat. 


96 


Every  Man 


WAXING  FURNITURE. 

Furniture  may  be  coated  with  a  solution  of 
beeswax  in  turpentine,  and  many  prefer  this 
method  to  varnishing,  as  it  is  easily  repaired 
if  scratched  or  bruised. 

Two  ounces  of  wax  melted,  and  added  to 
double  the  quantity  of  turpentine,  is  all  that  is 
required.  Rub  the  mixture  over  the  work 
with  a  woollen  rag,  and  then  rub  briskly  with 
a  piece  of  fine  cork  until  a  gloss  is  obtained. 
If  it  is  necessary  to  repair  the  polish  at  any 
time,  rub  it  briskly  with  the  cork,  and  it  will 
appear  as  well  as  when  new.  Coffins  are  fre¬ 
quently  waxed,  instead  of  being  varnished,  as 
it  is  quickly  done,  and  ready  for  immediate 
use  when  the  rubbing  process  is  finished. 


TO  CLEAN  PAINT. 

Take  whiting  on  a  dish  and  moisten  it  with 
water,  then  rub  the  paint  over  with  it,  using  a 
woollen  rag  for  a  rubber,  and  wash  off  clean 


His  Own  Painter. 


97 


with  water.  Cold  tea  grounds  are  also  excel¬ 
lent  for  rubbing  or  cleaning  paint. 


PAINT  FOR  FARM  TOOLS. 

Take  white  lead  and  mix  the  same  as  directed 
for  outside  work,  with  oil,  etc.;  then  add  in 
small  quantities  at  a  time,  Prussian  blue 
ground  in  oil,  until  the  desired  shade  is  ob¬ 
tained,  then  add  a  little  carriage  varnish  to 
give  it  a  gloss,  and  it  will  be  found  a  very 
durable  paint  for  #m  owing  and  reaping  ma¬ 
chines,  plows,  harrows,  farm  wagons,  etc. 

The  white  lead  base  gives  this  durability, 
and  any  color  that  will  be  suitable  may  be 
used  in  the  place  of  Prussian  Blue.  (See 
Combination  of  Colors.) 


PAINT  FOR  MACHINERY. 

Paint  for  stationary  engines,  laths,  planers, 
and  other  machines,  should  be  mixed  to  dry 
“dead,”  and  be  varnished,  if  a  good  job  is 
7 


98 


Evert  Man 


desired ;  and  the  reader  will  find  in  Chapter 
YT.  full  directions  to  mis  such  paint.  For 
cheap,  hurried  work,  mix  any  dry  color,  in 
carriage  rubbing  varnish,  and  apply  ;  this 
gives  the  color  and  the  varnish  gloss  at  one 
application,  and  will  dry  in  a  short  time. 
Green  is  the  most  commonly  used  for  machi¬ 
nery,  trimmed,  or  striped  with  black,  or  gold 
color,  or  bronze  ;  if  the  latter  is  used,  a  cheap 
ornamentation  may  be  given,  by  the  stencil¬ 
ing  process,  Chapter  IX. 

PAINT  FOR  HOUSEHOLD  FIXTURES. 

For  chairs,  tables,  bedsteads,  etc.,  mis  a 
light  brown  color,  as  directed  elsewhere,  mak¬ 
ing  it  quick-drying  and  “  dead  then,  when 
the  work  has  been  coated  over  and  is  dry, 
mix  lampblack  with  old  ale,  beer,  or  with 
vinegar  in  which  a  little  sugar  has  been  dis¬ 
solved,  and  with  a  sponge  dipped  in  the 
mixture  (which  should  be  quite  thick)  streak 
the  work,  as  if  graining  it.  This  will  dry  in  a 


His  Own  Painter. 


99 


few  minutes,  when  it  must  be  varnished  with 
furniture  varnish.  A  fine  appearance  may  be 
given  by  mixing  a  little  lake  or  rose  pink, 
finely  ground,  in  the  varnish,  forming  a  glaze, 
and  imitating  rosewood. 


PAINT  FOR  IRON  WORK. 

The  irons  of  a  fire-place,  or  the  mantle-shelf 
may  be  coated  with  Black  J apan,  as  used  by 
the  carriage-maker  ;  or  it  may  be  imitated  by 
mixing  lampblack  in  carriage  rubbing  varnish, 
using  no  oil  or  turpentine. 


TO  IMITATE  GROUND  GLASS. 

Dissolve  one  quarter  of  a  pound  of  gum 
arabic  in  a  pint  of  boiling  water,  and  add 
whiting  until  the  mixture  is  of  the  consistency 
of  gruel  or  stiff  paint.  Then  with  a  sponge 
dipped  in  the  mixture,  daub  or  pounce  the 
glass  over,  on  the  inside,  until  a  smooth  or 
even  appearance  is  obtained,  then  lay  a  rule  or 


100 


Every  Man 


“straight  edge”  across  the  glass  and  with  a 
pointed  stick  mark  the  clear  lines. 

POUNCING  ORNAMENTS,  ETC. 

Draw  the  desired  design  with  a  lead  pencil, 
on  writing  or  drawing  paper,  and  then  make 
pinholes  as  close  together  as  possible,  over 
every  line.  Lay  the  pricked  pattern  upon  a 
sheet  of  white  paper,  and  dust  over  it  any  dry 
color  from  a  small  muslin  “  pounce  bag,”  and 
upon  lifting  the  pattern  a  perfect  duplicate 
will  be  found  on  the  white  paper.  This  pro¬ 
cess  is  useful  in  copying,  or  in  lettering  when 
several  signs  are  to  be  done  alike,  or  for  orna¬ 
menting  walls.  The  patterns  should  be  care¬ 
fully  preserved,  for  they  may  be  used  over  and 
over  again. 


ANOTHER  METHOD. 

When  the  design  has  been  drawn  on  quite 
thin  paper,  rub  the  back  of  the  drawing  over 
with  a  paste  made  with  tallow  and  dry  color 


His  Own  Painter. 


101 


such  as  Indian  red,  lampblack,  or  dry  white 
lead,  leaving  enough  on  the  paper  to  slightly 
cover  it  ;  then  lay  the  drawing  on  the  work, 
holding  it  firmly  while  you  trace  the  pencil 
marks  with  a  pointed  stick  or  bone.  The 
color  on  the  back  will  be  transferred  to  the 
work  only  where  the  stick  passed  over,  makiug 
a  perfect  copy.  This  pattern  may  be  used 
many  times,  by  slightly  rubbing  the  back  over 
with  the  fingers  after  each  transfer. 


PAINTING  IN  IMITATION  OF  DAMASK. 

Walls  are  sometimes  painted  to  imitate 
woven  material,  or  particularly  damask,  and 
a  fine  effect  may  thus  be  produced  in  a  very 
cheap  and  easy  manner.  The  wall  must  be 
painted  with  two  or  three  coats  of  white  lead 
paint,  and  allowed  to  harden.  Then  draw 
some  nice  design,  of  leaves,  flowers,  or  scrolls, 
and  make  a  pounce  pattern,  as  shown  on 
another  page.  This  is  to  be  pounced  on  the 


102 


Every  Man 


wall  in  the  form  desired,  and  afterwards  well 
marked  over  with  black  crayon  or  lead 
pencil. 

A  mixture  of  melted  beeswax  and  some 
quick  drying  varnish  is  then  made,  and  a 
small  quantity  of  cheap  dry  color  added  to 
give  it  substance  or  body  ;  but  not  sufficient 
to  make  it  fully  opaque,  for  the  lines  of  the 
pattern  on  the  wall  must  be  seen  through  the 
paint. 

Now  apply  a  coat  of  this  mixture  all  over 
the  wall,  and  immediately  proceed  to  comb  it — ■ 
as  in  graining — using  a  medium  coarse  graining 
comb — first  diagonally  down  from  right  to  left, 
then  from  left  to  right,  and  lastly  in  a  vertical 
direction.  This  produces  the  appearance  of 
cloth,  with  coarse  threads.  Now  with  a 
camels’-hair  pencil  go  over  the  pattern  and 
smooth  out  the  marks  of  the  comb  on  all 
parts  within  the  outlines.  Allow  all  to  harden, 
which  will  be  several  days,  perhaps,  then  pro¬ 
ceed  to  paint  over  it  with  “  flat  ”  color,  any 


His  Own  Painter. 


103 


shade  or  tint  desired.  White,  tinted  with 
green,  blue,  or  carmine,  will  be  suitable. 

ANOTHER  METHOD. 

The  wall  being  well  painted  and  dry,  and 
the  pattern  wrell  outlined,  proceed  to  paint 
over  every  part  of  the  pattern — only — with 
the  beeswax  and  varnish  mixed  quite  thick 
with  white  lead.  Then  having  fine  sea  sand, 
well  dried,  sift  it  on  to  the  fresh  paint,  allowing 
it  to  get  perfectly  hard.  Then  dust  off  the 
loose  sand  and  lay  on  tinted  paint,  as  before. 
The  wall  will  be  smooth  and  the  figure  rough¬ 
ened,  and  it  will  not  only  look  well,  but  it 
will  surprise  many  who  do  not  understand 
the  art. 


ANOTHER  METHOD. 

Apply  a  thick  coat  of  the  mixture  to  all 
parts  of  the  wall.  Then,  having  designs  cut 
in  paper,  proceed  to  lay  them  on  to  the  prepared 
surface,  pressing  every  part  well  down  to  the 


104 


Every  Man 


gummy  mixture.  When  the  papers  are  all 
put  on,  sift  sand  as  before,  all  over  the  work  ; 
this  will  adhere  only  to  the  fresh  preparation, 
and  the  parts  covered  with  paper  will  be 
smooth.  Paint  over  as’  in  the  above  method 
with  “  flat  ”  paint.  The  paper  may  require  two 
coats,  and  it  will  be  best  to  apply  a  coat  over 
those  parts  only,  at  first,  going  over  all  with 
the  second  coat. 


TO  PAINT  A  FARM  WAGON. 

The  first  in  order  is  to  thoroughly  clean  the 
grease  and  dirt  from  the  fifth  wheel  and  hubs, 
then  with  number  two  and  a  half  sandpaper 
rub  over  and  smooth  down  every  part  of  the 
work,  If  the  old  paint  is  chipped  off  in 
places,  they  should  be  smoothed  with  an  old 
file.  This  preliminary  process  having  been 
completed,  run  the  wagon  into  the  carriage 
house  or  barn,  and  raise  the  wheels  from  the 
floor  by  placing  barrels  or  boxes  under  the 


His  Own  Painter. 


105 


axles.  Dust  off  every  part  well,  and  prepare 
the  paint. 

In  choosing  the  colors  for  this  work  we 
should  aim  at  durability  rather  than  beauty, 
and  select  strong-bodied  colors.  This  may  be 
decided  by  reference  to  Chapter  III.  A 
compound  color  having  white  lead  for  its  base, 
will  be  best  for  the  running  part  and  wheels  ; 
while  browns,  greens,  or  red  will  answer  for 
the  body. 

When  a  choice  of  color  is  made,  if  a  dry 
color  only,  or  one  to  be  mixed  with  white  lead, 
mix  with  boiled  oil  two  parts,  carriage  rubbing 
varnish  one  part,  and  add  a  little  turpentine. 
If  the  colors  are  those  put  up  in  tin  boxes  and 
ground  in  oil,  a  smaller  quantity  of  oil  will  be 
required,  and  a  little  brown  Japan  may  be 
added  to  assist  in  drying. 

Now,  having  the  paint  prepared,  begin  by 
coating  the  body,  laying  the  paint  on  plentifully 
and  smoothing  it  well  with  a  partly  worn  or  a 
well -bound  brush.  (A  flat  bristle  brush  is  best.  1 


106 


Every  Max 


The  under  parts  are  next  in  order,  finishing 
the  wheels  lastly.  The  work  should  now  be 
allowed  to  stand  until  perfectly  dry.  Then, 
the  holes,  cracks  and  other  imperfections  aro 
to  be  filled  with  putty.  (See  Chapter  VI.) 

In  this  class  of  work  it  will  be  best  to  color 
the  putty  by  mixing  dry  color  with  it,  as  near 
the  color  of  the  ground  work  as  possible. 
When  this  is  done  and  the  surface  well  dusted, 
proceed  with  the  second  coating  in  the  same 
manner  as  before,  and  give  time  to  harden. 

Now,  if  the  paint  has  dried  with  a  glossy 
appearance,  it  must  be  rubbed  over  with  a 
bunch  of  curled  hair  or  moss,  to  prevent  the 
varnish  from  “  crawling,”  or  it  may  be  washed 
with  clean  cold  water,  and  dried  with  a  chamois 
skin. 

Striping  should  not  be  attempted,  until  the 
operator  has  become  accustomed  to  the  use  of 
the  pencil,  by  practicing  the  art  on  a  wheel  or 
board  painted  for  the  purpose,  or  a  failure  will 
be  sure  to  follow.  By  watching  the  move- 


His  Own  Painter. 


107 


men  is  of  a  striper  while  at  work,  the  student 
can  acquire  a  sufficient  knowledge  to  enable 
him  to  practice  the  art,  and  it  can  be  learned 
in  no  other  manner.  Ornamenting,  if  desired, 
may  be  done  by  the  stenciling,  transferring,  or 
decalcomanie  process,  already  referred  to. 

Ordinary  carriage  yarnish  will  be  good 
enough  for  this  work,  and  a  quart  will  be  suffi¬ 
cient,  costing  perhaps  one  dollar  twenty-five 
cents.  The  varnishing  process  is  similar  to  that 
of  painting,  but  the  varnish  should  be  applied, 
freely  used,  and  quickly  levelled  with  the  brush, 
care  being  taken  to  spread  it  evenly,  that  no 
“  runs  ”  or  heavy  flows  be  left  to  injure  the 
appearance  of  the  work.  Give  the  work  suf- 
ficient  time  to  harden  before  using  it. 

TO  RE- YARNISH  A  CARRIAGE. 

The  cleaning  process  is  always  first  in  order  ; 
this  done,  take  pulverized  pumice-stone  on  a 
shallow  dish,  and  wet  it  well  with  clean  water ; 
then  with  a  woollen  cloth  dipped  in  the  pumice- 


108 


Every  Man 


8tone>  rub  over  evei'J  P^t  of  tlie  carriage,  until 
tiie  surface  appears  smooth  and  clean.  Wash 
the  pumice-stone  off  as  you  proceed  from  part 
to  part,  for  if  any  be  left  to  dry  on  the  surface 
it  will  be  found  difficult  to  remove  it. 

TV  nen  the  rubbing  process  is  completed,  set 
the  axles  on  barrels,  that  the  wheels  may  clear 
the  floor,  and  if  it  be  necessary  to  paint  over 
any  bruised  or  worn-off  places,  it  should  now 
be  done  with  “quick  color.5’  (Chapter  V.) 

When  this  “touching  up  ”  is  dry,  take  hard- 
drying  varnish  and  begin  with  the  body,  laying 
on  the  varnish  freely,  and  “lay  it  off”  as 
quickly  and  as  evenly  as  possible.  The  more 
varnish  you  get  on  and  have  it  flow  level,  the 
better  the  work  will  look  and  wear.  Be  par¬ 
ticular  to  have  everything  clean  or  free  from 
dust.  Finish  the  wheels  lastly,  and  keep  them 
slowly  revolving  for  a  few  minutes,  until  the 
varnish  is  “  set.” 

The  dash,  if  of  patent  leather,  may  be  var¬ 
nished  with  the  same  varnish,  if  necessary,  but 


His  Own  Painter. 


109 

the  top  or  curtains  should  be  cleaned,  %,nd  a 
coat  of  enamelled  leather  varnish  applied.  If 
this  cannot  be  easily  procured,  wash  the  leather 
with  warm  water  and  castile  soap,  and  apply  a 
good  coat  of  neatsfoot  oil,  to  which  is  added  a 
little  lampblack.  This  must  be  well  rubbed 
into  the  leather,  and  a  thin  coat  of  shellac 
varnish,  to  prevent  the  black  from  rubbing  off, 
would  do  no  harm. 


tUipUcatc  plaster  Casts. 

PREPARING  THE  MOULDING  COMPOSITION. 

^UT  four  pounds  of  glue  in  a  pan  and 
cover  it  with  water  ;  let  it  stand  half 
an  hour,  or  until  about  half  saturated, 
care  being  taken  not  to  let  it  soak  too 
long.  Then  pour  off  the  water  and  let 
it  remain  until  it  is  soft.  Put  it  in  a  tin  pail 
and  set  the  pail  in  another  vessel,  partly  filled 
with  hot  water  ;  set  the  whole  over  a  fire  and 
let  it  remain  until  thoroughly  melted  ;  then 
add  one  quart  of  sugar-house  molasses,  and  mis 
well  by  frequent  stirring.  Allow  the  mixture 
to  boil  about  an  hour,  or  until  it  gets  “stringy,” 
as  in  making  candy.  When  this  occurs  set  it 
aside  to  cool. 

aio) 


Ehs  Own  Painter. 


Ill 


PREPARING  THE  MOULD. 

The  image,  or  whatever  is  to  be  copied, 
should  (if  of  plaster,)  be  coated  over  with  a 
thin  solution  of  starch  and  allowed  to  dry  well : 
then  its  surface  must  be  well  rubbed  with 
sweet  oil  to  prevent  the  composition  from 
adhering  to  any  part. 

Now,  form  a  cylinder  of  stiff  paper  or  paste¬ 
board,  at  least  one  inch  larger  in  diameter 
than  the  greatest  projections  of  the  image,  and 
it  should  be  long  enough  to  project  three  or 
four  inches  above  the  head  of  the  same,  to 
allow  for  shrinkage  of  the  composition.  The 
image  must  now  be  placed  on  a  smooth  table 
or  board,  and  the  cylinder  put  around  or  over 
it,  and  the  joint  between  the  cylinder  and 
table  made  water-tight  by  plastering  with 
plaster-of-paris  and  water. 

The  composition  which  was  previously  set 
aside  must  now  be  heated  sufficiently  to  liquify 
it,  when  it  may  be  poured  directly  into  the 


112 


Every  Man 

cylinder,  until  tire  ^  tH9 

to  stand  eight  or  ten  hours  to  harden. 

TO  REMOVE  THE  PATTERN  FROM  THE  MOULD. 

The  composition  being  cold  end  hard,  chip 
Off  the  plaster  from  around  the  base  and  mn  a 
sharp  knife  between  the  cylinder  and  table  to 
separate  them;  then  with  a  large  round  stu* 
sl0Wly  push  the  composition  in  which  the 
image  is  now  imbedded,  through  the  cylinder, 
being  careful  not  to  injure  the  form  of  eit  er 

Now  place  the  composition  on  its  end,  as  it 

was  while  in  the  cylinder,  and  with  a  sharp 
knife  divide  it,  b,  cutting  from  top  to  bottom 
in  an  imaginary  centre  line,  unti  e  n 
reaches  the  image.  The  rubber-like  composri 
will  yield  as  the  parts  are  slowly  pulled 
asunder  ;  thus,  the  image  or  pattern  is  removed 
and  when  the  composition  is  placed  togethe  , 
“d  returned  to  the  cylinder,  a  cavdy,  corto- 
sponding  in  every  detail  with  the  pa  er 
be  found. 


His  Own  Painter. 


113 


CASTING  THE  IMAGE. 

The  cylinder  containing  the  mould  must 
How  be  placed  with  the  open  end  upward,  and 
a  cream-like  mixture  of  plaster  of  paris  poured 
into  it,  and  well  shaken.  This  mixture  is  allowed 
but  a  few  minutes  to  “  set,”  when  the  liquid 
portions  must  be  poured  out  again.  This  opera¬ 
tion  forms  a  thin  film  over  every  part  of  the 
mould,  and  should  be  repeated  when  the  first 
coating  is  set  sufficiently  hard.  Or  a  small 
amount  of  plaster  may  be  mixed  and  poured 
in,  and  the  mould  rolled  around  and  around 
carefully  by  the  hands,  letting  the  creamy 
plaster  flow  over  every  part  of  the  inner  surface 
of  the  mould,  which,  becoming  set,  will  form  a, 
shell  or  coating  of  moderate  thickness.  Mora 
plaster  may  be  mixed  and  put  in,  and  tha 
process  repeated  until  the  casting  has  acquired, 
a  sufficient  thickness. 

When  completed,  and  the  plaster  is  hard, 
the  same  process  as  employed  to  remove  tho 
8 


114 


Every  Man 


pattern  should  be  repeated,  excepting  the 
cutting,  for  the  composition  being  already  in 
two  parts,  it  will  be  easily  removed,  and  thus 
the  operation  may  be  repeated  indefinitely. 


TO  MAKE  ORNAMENTAL  WORK  FOR  FRAMES, 
BOXES,  ETC. 

COMMONLY  CALLED  “PUTTY  WORK.” 

Take  dissolved  glue  (see  Chapter  III.)  and 
mix  with  whiting  to  a  stiff  dough,  by  kneading 
with  the  hands  in  a  warm  place  and  frequently 
holding  the  mass  over  a  steaming  kettle  of 
water,  to  soften  it.  This  forms  the  composition 
for  making  the  moulds,  and  for  casting  the 
ornaments. 

Take  an  oi’namented  box  or  frame,  and 
slightly  oil  it,  to  prevent  the  material  from 
sticking,  then  press  a  well  kneaded  and  softened 
lump  of  the  composition  on  the  part  you  wish 
ko  duplicate  ;  keep  it  in  position  a  few  minutes, 
when  it  may  be  removed,  and  there  will  be 
Jound  an  indenture  corresponding  to  the 


115 


His  Own  Painter. 

O  - _ 

figures  of  the  pattern.  This  must  now  be  left 
to  harden,  when  it  may  be  used  to  mould  in, — 
the  process  being  the  same  as  in  making  the 
mould,  excepting,  that  when  the  composition 
has  been  pressed  into  the  mould,  a  sharp  case 
knife  is  used  to  cut  off  all  superabundant  com¬ 
position  and  leave  the  figure  level  with  the 
face  of  the  mould. 

The  figures  may  now  be  glued  on  to  the 
desired  place  and  painted  over. 

Glue  will  not  adhere  to  a  painted  or  var¬ 
nished  surface. 


Jlems  of  fittest. 

To  Remove  Stains  from  Marble. — Take  two 
parts  of  common  soda,  one  part  of  pumice- 
stone,  and  one  part  of  finely  powdered  chalk  ; 
pass  these  through  a  seive  and  mix  with  water. 
Rub  the  marble  with  this  mixture  and  wash  off 
clean. 

To  clean  Engravings. — Dissolve  one  ounce  of 


116  Every  Man  His  Own  Painter. 

crystals  of  oxalic  acid  in  a  gill  of  water,  and 
saturate  the  engraving  with  it. 

Varnish  fob  Maps  and  Pictures.—  Mix  one 
ounce  of  Canada  balsam  and  two  ounces  of 
spirits  of  turpentine.  Wash  the  map  over  with 
isinglass  in  water,  and  when  dry,  apply  the 
varnish  with  a  soft  brush. 

Cement.— Common  shellac  dissolved  in  alco¬ 
hol  will  be  found  an  excellent  cement  or  glue 
for  broken  furniture. 

Bird  Cages  should  be  painted  with  “dead 
color  ”  and  varnished.  Oil  paint  is  said  to  be 
injurious  to  the  bird. 

Boats  should  be  painted  with  raw  oil  in  the 
mixture,  rather  than  boiled  oil.  The  latter  is 
very  apt  to  blister  and  peel  from  the  wood. 

Coloring  G-rasses  for  Ornamental  Vases.— 
Dip  tho  dried  grasses  in  weak  glue,  and  while 
still  wet,  roll  each  one  separately  in  any  dry 
color,  and  shake  them,  to  remove  any  heavy 
drops  of  the  glue. 


S-  3§Uto  liWjpfr  of  Jainting  Jfn- 
tmax  of  JfoM&es. 


Permanent  "Wood  Felling,  as  used  in  House 
Painting. 

custom  of  finishing  houses  with 
beautiful  woods,  instead  of  with  paints, 
is  a  very  tasteful  one,  and  we  are  glad 
to  notice  that  it  is  rapidly  growing  in 
favor  -with  the  public.  In  the  hall, 
bath-room,  and  kitchen,  in  the  finer  class  of 
houses  now  building  in  New  York,  the  use  of 
natural  woods  has  generally  superceded  that 
of  paint  ;  and  in  some  of  the  most  luxurious 


(117) 


118 


Every  Man 


houses,  where  expense  is  an  after  consideration, 
mantles  of  ear-red  wood  have  in  man,  instances 
taken  the  place  of  marble.  This  new  mode  of 
finishing  is  without  question  superior-  to  the 
old  in  every  consideration  of  beaut,  and 
durability.  It  has  but  one  objection,  its 
costliness.  It  is  with  a  view  of  covering  this 
one  objection  that  the  Permanent  Wood 
Filling — originally  intended  as  a  pnmmg  for 
carriages  and  cars, -has  been  tested  by  many 
house-builders,  and  as  it  has  invariably  proved 
valuable,  it  merits  the  attention  o  ouse 
painters  and  architects.  In  an  ordinary  house 
It  is  too  expensive  to  finish  with  hand  woods, 
but  b,  using  this  liquid  to  stain  pine  or  white- 
wood,  an  excellent  imitation  may  be  produced 
at  trifling  expense. 

For  the  information  of  those  who  aie  un¬ 
acquainted  with  the  Permanent  Wood  Filling, 
we  would  say,  it  is  a  liquid,  of  about  the  same 
consistency  as  varnish,  and  is  supplied  in  cans 
of  one  and  live  gallons  capacity,  at  $4.00  per 


His  Own  Painter. 


119 


gallon.  There  are  two  shades,  the  “Dark” 
and  the  “  Light.” 

The  former  is  employed  when  it  is  desired 
to  stain  the  wood  a  rich  brown;  the  latter  is 
nearly  colorless,  and  is  used  on  light  colored 
work,  or  when  the  natural  shade  of  the  wood 
is  to  be  retained. 

It  is  claimed  for  this  new  article,  that  being 
a  very  penetrating  and  non-evaporating  anti¬ 
damp,  of  extreme  durability,  it  is  a  perfect  and 
permanent  filling  for  the  pores  of  wood,  and  is 
designed  to  take  the  place  of  lead  paint,  in  a 
measure,  for  all  new  work.  Paint  simply 
forms  a  coating  upon  the  wood,  and  can  only 
protect  so  long  as  that  coating  remains  unim¬ 
paired  by  exposure  ;  whereas  the  filling  enters 
the  pores  and  permanently  closes  them,  thus 
hardening  the  wood  itself,  and  making  it  almost 
an  enamel,  while  but  very  little  of  the  filling 
remains  on  the  surface.  It  is  also  very  elastic, 
and  no  flaking  or  cracking  will  ever  be  found 
in  its  use  ;  and  it  being  easily  washed  or 


120 


Every  Man 


cleaned,  is  very  useful  on  kitchen  and  hall 
wainscotings. 


DIRECTIONS  FOR  USE. 

On  close-Grained  Wood.— Inside  finish,  one 
coat  of  Permanent  Wood  Filling,  dark  or  light 
shade,  or  a  mixture  of  the  two,  as  taste  may 
direct.  Let  dry,  and  sandpaper.  If  a  brilliant 
finish  is  desired,  a  coat  of  varnish  may  be 
added. 

On  heayy-Gkained  Wood.— Inside  finish,  use 
the  following  method  :  Put  on  one  coat  of 
Permanent  Wood  Filling.  Let  diy,  and  sand- 
paper  lightly.  Mix  starch,  Japan  Gold  Size, 
oil  and  turpentine,  and  apply  a  coat  of  this 
compound  and  knife  in.  When  dry,  the  job  is 
ready  for  varnishing. 

If  it  is  not  desired  to  fill  the  grain  so  as  to 
make  a  perfectly  true  and  even  surface,  simply 
apply  two  coats  of  Permanent  Wood  Filling, 
giving  the  first  time  to  dry  before  the  second 


His  Own  Painter. 


121 


is  applied.  Oil  and  sandpaper.  Varnish,  if 
desired. 

On  Paneled  Work. — In  houses  ceiled  with 
pine  or  other  soft  wood,  a  very  beautiful  and 
durable  finish  may  be  made  at  little  expense  in 
the  following  manner  :  Apply  one  coat  of  Dark 
Filling  on  each  alternate  panel,  and  a  coat  of 
Light  on  the  rest.  Or  a  still  more  attractive 
effect  may  be  produced  by  filling  one  panel 
with  Dark  Filling,  the  next  with  light,  and  the 
third  with  an  intermediate  shade  composed  of 
an  equal  mixture  of  the  other  two.  Let  dry 
from  two  to  four  days.  A  coat  of  varnish  may 
be  applied  if  a  brilliant  finish  is  desired. 

The  new  depot  at  Saratoga  is  finished  in 
hard  woods,  as  follows  :  Black  Walnut  wain¬ 
scoting  five  feet  high.  Above  that  Chestnut  cut 
up  into  panels  with  mouldings  of  Black  Walnut. 
Over  the  whole  surface  are  two  coats  of  the 
Light  Filling.  Every  one  who  has  seen  this 
depot  pronounces  the  finish  to  be  unequalled 


122 


Every  Man 


both  for  its  tasteful  appearance  and  extreme 
durability. 

The  following  list  embraces  a  few  of  the  build 
ings  finished  with  the  Permanent  Wood  Filling. 

2.  Carriage  Repository  of  Brewster  and  Co., 
of  Broome  Street,  N.  Y. 

3.  Custom  House,  St.  Paul,  Minn. 

4.  Cabinet  Work,  Treasury  Building,  Wash¬ 
ington. 

5.  The  Rockwell  House,  of  Glenn  Falls,  N.  Y. 

6.  Methodist  Church,  Beverly,  Mass. 

7.  R.  R.  Station,  Saratoga  Springs,  New 
York. 

8.  Homeopathic  Hospital,  23d  Street  and 
3d  Av.,  New  York  City. 

'  9.  Wm.  G.  Fargo’s  $250,000  mansion  in  Buf¬ 
falo,  New  York. 


CAUTIONS. 

The  Permanent  Wood  Filling  can  only  be 
used  on  new  work.  Where  lead  or  zinc  has 
been  once  used  it  is  not  applicable. 


His  Own  Painter. 


123 


It  can  be  applied  with  an  ordinary  paint 
brush,  but  must  be  put  on  vgry  thin  and  even • 
and  should  be  well  rubbed  out,  leaving  no 
more  than  the  wood  will  absorb. 

There  must  be  nothing  added  to  thin  the 
Filling.  When  it  does  not  spread  readily  (as 
on  a  cold  day)  it  may  be  turned  into  a  dipper 
and  immersed  in  hot  water,  and  this  will 
greatly  facilitate  the  working.  But  as  heat  has 
a  tendency  to  cause  it  to  thicken  after  it  has 
cooled,  no  more  should  be  warmed  than  is  re¬ 
quired  for  immediate  use.  Light  and  air  will 
aid  its  drying. 

Owing  to  the  fact  of  its  retaining  its  “  tack  ” 
for  a  considerable  length  of  time  after  its 
application,  painters  are  apt  to  think  that  it  is 
not  dry  when  it  really  is.  Two  days  is  suffi¬ 
cient  time  to  allow  it  to  dry. 

Avoid  the  use  of  turpentine  throughout  this 
system  of  painting,  as  far  as  possible. 


INDEX* 


Introductory . . . . 

CHAPTER  I. 

Painting . 

Tools  used . 

CHAPTER  TL 
Brushes . 

CHAPTER  IH. 

Drx  Colors  . 

White  Lead . 

Zinc  White . 

Lampblack . 

Drop  Black . 

Ivory  Black . 

Prussian  Blue . 

Ultramarine . 

Green . 

Yellow . 

Vermillion . 

Brown . 

Lake . 


PAGE 

5  Carmine . 

Rose  Pink . 

Whiting . 

11  Glue . 

13  Pumice  Stone . 

Asphaltum . 

16  CHAPTER  IV. 

Liquids . 

Spirits  of  Turpentine. 
25  Oils . 

25  Varnishes . 

26  Furniture  Varnish 

27  Average  prices  of  Var- 

27  nish . 

28  Shellac  Varnish . 

28  Japan  Gold  Size . 

29  Brown  Japan . 

29  Size . 

29  Fat  Oil  Size 

30  Quick  Size . 

31  Asphaltum  Size . 

31  Honey  Size. . . 


PAGE 

32 

33 
33 

33 

34 

35 


37 

37 

38 

39 

40 

40 

41 

41 

42 
42 
42 

42 

43 
43 


(124) 


Index 


125 


Size  for  Glass .  44 

CHAPTER  Y. 

Colobs  in  Oil .  45 

Tube  Colors .  46 

Compound  Colors. .. .  46 

CHAPTER  VI. 

Mixing  Paint .  48 

White  Paint .  51 

White  for  inside  work  52 

China  Gloss .  53 

Oil  Color  for  outside 

work .  53 

Dead  or  Flat  Color ...  54 
Colors  ground  in  Oil .  54 

Putty .  55 

Common  Window  Put¬ 
ty .  55 

Carriage  Painters’Put-  55 

ty . .  55 

Cementing  Putty. ....  55 

Furniture  Putty .  56 

Hard  wood  Putty .  56 

Putty  for  Plaster  work  56 

CHAPTER  Vn. 

Milk  Paint .  57 

Distemper  Painting  . .  58 
Kalsomine .  58 


Preparing  Kalsomine.  59 
Paint  for  Out-build¬ 
ings .  62 

Paint  for  Don  Railing  63 

Whitewash .  63 

Size  for  Walls .  64 

Paste  for  Paper-hang¬ 
ing  .  65 

Hanging  Paper .  66 

CHAPTER  VHI. 

Gkaining .  68 

Oak  in  Distemper. .. .  69 

Oak  in  Oil .  71 

Maple .  71 

Mahogany .  71 

Rosewoood .  71 

Black  Walnut . . . .  71 

Staining .  . .  71 

Granite .  72 

Brown  Stone .  72 

Portland  Stone .  72 

Smalting . . .  73 

Flockings .  74 

Marbling .  74 

CHAPTER  IX. 

Gilding .  76 

Gold  Leaf. .  76 

Silver  Leaf .  80 


126 


Index. 


Dutch  Metal . 

Gilding  on  Glass ..... 

Bronzing . 

Stenciling . 

Transferring . 

Decalcomanie . 

Transparent  Painting 

Pearl  Inlaying . 

Making  a  Bustic  Pic¬ 
ture . 

Painting  Flower  Stand 
Polish  for  Mahogany.. 
Polish  for  Bosewood.. 
Varnishing  Furniture. 
Waxing  Furniture. . . . 

Cleaning  Paint. ., . 

Paint  for  Farming 

Tools . 

Paint  for  Machinery. . 


Paint  for  Household 

goods .  98 

Paint  for  Iron .  99 

To  imitate  Ground 

Glass .  99 

Pouncing  Ornaments.  100 
Painting  to  imitate 

Damask .  101 

To  Paint  a  Farm 

Wagon .  104 

To  Be-vamish  a  Car¬ 
riage .  107 

To  Duplicate  Plaster 

Casts .  110 

To  make  “Putty 

Work” .  114 

Permanent  Wood  Fill¬ 
ing  for  House  Work  117 


80 

80 

81 

82 

86 

87 

87 

90 

91 

93 

94 

94 

94 

96 

96 

97 

97 


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complete  work.  By  Andrew  Combe,  M.D.  $1,50. 
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How  to  Write. — A  Manual  of  Letter-Writing  and 
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conduct  Debating  Societies  and  Public  Meetings.  The 
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Among  the  subjects  treated  are  the  following : 
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Love  Signs  in  the  Features,  and  How  to  Read 
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PHRENOLOGY  AT  HOME! 


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Wc  have  arranged  below,  a  aeries  of  the  best 
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exact  location  of  all  the  Phrenological  Oigans, 
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may  know  the  position  and  exact  location  of  each 
mental  Faculty.  With  this  “Student’s  Set’’ 
one  may  become  “  His  Own  Phrenologist,”  and 
learn  at  Home,  how  to  Delineate  Character. 


New  Physiognomy;  or,  Signs  of  Character,  as 
manifested  through  Temperament  and  External 
1  orms.  \\  ith  more  than  1000  illustrations.  $5.00. 

HOW  to  Stead  Character.  A  New  Illustrated 
Hand-book  of  1  hrenology  and  Physiognomy.  $1.25. 

CJonstStutlon  oi  Man.  Considered  in  relation  to 
External  Objects.  By  George  Combe.  $1.75. 

°»  Phrenology.  By  George  Combe. 
V\  ith  Notes.  An  Essay  on  the  Phrenological  Mode  of 
Investigation,  and  a  Historical  Sketch.  $1.75. 

Combined  Annuals  of  Phrenology  and 
Physiognomy,  for  1865,  ’66,  ’67,  ’68,  ’69,  ’70,  ’71  ’72 
and  ’78.  Containing  over  300  Illustrations.  $2.00.  ’ 

Natural  hawsofMan.  Questions  with  Answers. 
By  J.  G.  Spurzheim,  ,M.X>.,  Muslin,  75  cents. 

The  Phrenological  Bust,  with  latest  classifica¬ 
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Tlie  Proper  Study  of  Mankind  is  Man." 


NEW  PHYSIOGNOMY, 

OR 

“SIGNS  OF  CHARACTER,” 

As  Manifested  in  Temperament  and  in  External 
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A  comprehensive  and  practical  work,  in  which  Phys¬ 
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acter  reading.  Following  are  some  of  the  topics  : — 


Previons  Systems, 

including  those  of  ancient 
and  modern  writers  given. 

General  Principles 
of  Physiognomy,  or  the 
laws  on  which  character 
reading  is  based. 

X  e  m  peraments.  — 
Ancient  Doctrines  ;  New 
Classification  now  in  use. 


>gnomy  Ap¬ 
plied— To  Marriage,  to  the 
Training  of  Children,  to 
Personal  Improvement,  to 
Business,  to  Insanity  and 
Idiocy,  to  Health  and  Dis¬ 
ease,  to  Classes  and  Profes¬ 
sions,  to  Personal  Improve¬ 
ment,  and  also  to  Character 
Reading  generally. 


Practical  Physiog- 

nomt.— General  Forms  of 
Faces — Eyes,  Mouth,  Nose, 
Chin,  Jaws,  Teeth,  Cheeks, 
Forehead,  Hair,  Beard, 
Complexion,  Neck,  Ears, 
Hands,  Feet,  Voice,  Walk, 
Laugh,  Shaking  Hands. 

Ethnology. — The  dif¬ 
ferent  Races  Described — 
National  Types  illustrated. 

Animal  Types.— 
Grades  of  Intelligence,  In¬ 
stinct  and  Reason  ;  Animal 
Heads  and  Animal  Types. 


Character  Reacting 

More  than  a  Hundred  noted 
Men  and  women  introduced 

Graph  omancy.  — 

Character  Revealed  in 
Handwriting  with  Speci¬ 
mens — Palmistry— illus. 

The  Great  Secret. 

— How  to  he  Healthy  and 
How  to  be  Beautiful — Men¬ 
tal  Cosmetics — interesting. 

Aristotle  and  St. 

Paul.  —  A  Model  Head ; 
Views  of  Life  ;  Anecdotes 


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The  Illustrated  Annuals. 

For  Nine  Tears,  Combined  in  One  Volume. 

Contains  : 

1 865.— Physiognomy  lllus.  Debate  in  Crania. 
Fighting  Physiognomies  Illus.  Palmer,  the  English 
Poisoner.  Character  in  the  Eyes.  Where  to  find  a  Wife. 

1 8  66. — Character  in  the  Walk.  Uses  of  Phrenology. 
Stammering  and  Stuttering,  A  Cure.  Two 
Qualities  of  Men.  Home  Courtesies.  Vanderbilt.  Lan¬ 
guage  of  Eyes.  Phrenology.  Brigham  Young. 

1867.— Names  of  the  Faculties.  About  Fat  and 
Lean  Folks.  Thomas  Carlyie.  Matrimonial  Mis¬ 
takes.  Handwriting.  How  to  Conduct  Public  Meet¬ 
ings.  Rasb  fulness— Diffidence— Timidity. 

1868  —A  Brief  Glossary  of  Phrenological  Terms. 
Jealousy,  Its  Cause  and  Cure.  Marriage  of 
Cousing.  Bad  Heads  and  Good  Characters.  Howto 
Become  a  Phrenologist.  The  Two  Paths  of  Womanhood. 

1869. — True  Basis  of  Education.  Blind  Tom.  What 
Can  I  Do  Best.  Mirtbfulness — W  it — Humor, 
Weight  of  Brains.  Temperament  of  Cattle.  How  to  Study 
Faces.  Convention  of  the  Mental  Faculties. 

18  70. — Our  Editors— Bryant,  Greeley,  Bennett, 
Brooks,  Marble,  Dana,  Raymond,  with  portraits.  Why 
Children  Resemble  Parents.  Science  of  Conjugal  Selec¬ 
tions.  Happy  Marriage.  Temperament  in  Wedlock. 

X  8  7 1  — National  Types  of  Female  Beauty.  Phren¬ 
ology — Its  History.  Principles,  Proofs  and  Uses.  The 
Perceptives.  Personal  Beauty.  West  Point — How  to 
Enter.  How  to  Study  Men,  Definitions  of  the  Organs. 

18  72. — Man’s  Place  in  Nature.  Science  of  Man. 
Science  and  Religion.  Government  Children,  Crimi¬ 
nals,  Insane  and  Idiots,  Hr.  Miiman,  Sumner,  Howard, 
Du  Chaillu.  Roebling,  Ann  Lee,  Emp.  of  Germany,  and 
his  Aids.  Twelve  Prominent  American  Clergymen. 

18  73.  —Racial  Types  of  Face  and  Form  Illustrated. 
Phrenology  and  the  Physiologists.  Every-day  Life,  Illus¬ 
trated.  David  Livingston,  bred.  Douglas.  Caricature 
Expression.  W.  II.  sevvard.  All  the  Presidents  of  the 
United  States,  from  Washington  to  Grant.  Matthew 
Arnold.  How  to  Cure  a  Cold.  Signs  in  the  Lips. 

Over  400  pages,  and  more  than  350  Hlustrative  En 
gravings.  Price,  by  first  post,  in  muslin,  *2.00. 

Please  Address,  S.  R.  Wells,  389  Broadway,  N.  Y. 


HOW  TO  READ 


CHARACTER; 

A  New  Illustbated  Hand-Book  of  Phrenology 
and  Physiognomy,  for  the  use  of  Students  and 
Examiners ;  with  a  Descriptive  Chart  for  marking, 
and  upwards  of  170  Engravings.  Price,  post-paid, 
in  musUn,  $1.25 ;  in  paper,  $1. 

One  who  wishes  to  get  a  practical  knowledge  of 
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sible  time,  and  without  burdening  his  mind  with 
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The  True  Healing  Art,  or  Hygienics.  Drug 

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SIENT  ;  or,  How  to  Acquire  Plumpness  of  Form, 
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Annual  of  Phrenology  and  Physiognomy.  1874, . .  $0  25 

Annuals  for  1865  to  ’73,  1  large  vol.  Complete, _ 2  00 

How  to  Read  Character.  Illus.  Hand-Book, .  125 

Lectures  on  Phrenology.  Comhe.  Hlustrated, . . .  175 

Combe’s  Moral  Philosophy.  New  edition, .  175 

Combe’s  Constitution  of  Man.  Latest,  best, .  1  75 

Defence  of  Phrenology.  Dr.  Boardman, .  1  50 

Education  Complete.  3  vois.  iD  one, .  4  00 

Education  on  Nature  of  Man.  By  Spurzheim, _  1  50 

Memory — How  to  Improve  and  Keep  It, .  1  50 

Mental  Science.  By  Weaver.  Illustrated, .  150 

Wells’  New  Physiognomy,  1000  illustrations, .  5  00 

Phrenology  Proved,  Illustrated  and  Applied .  1  75 

Self-Culture  and  Perfection  of  Character, . . .  1  50 

Self-Instructor  in  Phrenology.  Illustrated, .  75 

Wedlock,  Eight  Relation  of  Sexes.  By  Wells _  1  50 

Alcoholic  Controversy.  Temp.  By  Dr.  Trail, _  50 

Physiology  of  Digestion.  By  Dr.  Comhe, .  50 

Combe’s  Physiology — Education-Illustrated, . 1  75 

Family  Gymnasium.  With  Instructions.  Hlus _  1  75 

Food  and  Diet.  By  Pereira  and  Lee, .  175 

Fruits  and  Farinacea.  Proper  Human  Food, .  175 

Notes  on  Beauty,  "Vigor,  &c . . .  10 


r 


Srief  Catalogue. 


Natural  Laws  of  Man.  Spnrzheim, .  75 

Combe  on  Infancy.  Illustrated.  Valuable .  1  50 

Sober  and  Temperate  Life.  By  Cornaro, .  50 

Children  in  Health  and  Disease.  Dr.  Shew, .  1  75 

Hydropathic  Cook  Book.  Illustrated.  Dr.  Trail,  1  50 

Hereditary  Descent — Its  Laws  and  Facts, .  1  50 

Philosophy  of  the  Water-Cure.  Illustrated .  50 

Practice  of  the  Water-Cure.  Illustrated, .  50 

Physiology,  Animal  and  Mental, .  1  50 

Bell’s  Anatomy  of  Expression.  Illustrated, .  1  50 

New  Hygienic  Hand-Book.  A  Guide.  Trail, .  2  00 

The  True  Healing  Art.  Dr.  Trail.  Paper  30c,  mas.  50 
W ater-Cure  for  the  Million.  Same.  Paper  30c,  mus.  50 
The  Bath.  By  Trail.  Paper,  25  cents  ;  Muslin,. ..  50 

The  Human  Feet,  their  Dress  and  Care, .  1  25 

Manual  of  Medical  Electricity.  Dr.  White .  2  00 

The  Parent’s  Guide.  Pre-Natal  Influences, .  150 

Domestic  Hydropathy.  By  Dr.  Johnson, . 2  00 

Family  Physician,  Hydropathic.  Dr.  Shew, .  4  00 

Water-Cure  in  Chronic  Disease.  Dr.  Gully', .  2  CO 

The  Science  of  Human  Life.  Dr.  Graham, .  3  50 

The  Emphatic  Diaglott.  Greek  and  Eng.  Wilson  5  00 
Library  of  Mesmerism  and  Psychology,  One  vol.  4  00 

Aims  and  Aids  for  the  Young.  Weaver, .  1  50 

Popels  Essay  on  Man.  Notes  and  Illustrations,.. .  100 

Gems  of  Goldsmith.  Poems.  Most  popular, .  1  00 

ASsop’s  Fables.  People’s  edition.  Illustrated,...  100 
Fruit  Culture  for  the  Million.  Illustrated .  100 


Brief  Catalogue. 


Hopes  and  Helps  for  the  Young, .  1  50 

Salem  Witchcraft  and  Planchette  Mystery, .  1  00 

Temperance  Reformation.  Armstrong .  1  50 

The  Christian  Household.  Weaver, .  100 

Man :  in  Genesis  and  in  Geology.  Thompson,. . 1  00 

Life  in  the  West.  Stories  hy  Meeker, .  2  00 

Saving  and  Wasting.  Live  on  a  Dime  a  Day .  1  50 

Three  Hours’  School  a  Day.  Save  the  Children  . .  1  50 

Right  Word  in  the  Right  Place.  Pocket  Dict’ary.  75 

Ways  of  Life— Right  Way  and  Wrong  Way .  1  00 

Weaver’s  Works,  for  young  folks.  Complete, .  3  00 

Footprints  of  Life.  A- Poem.  Dr.  Harvey, .  125 

Oratory,  with  Chairman’s  Guide, . , . . .  1  50 

Life  at  Home,  the  Family.  Aikman’s, .  1  50 

Home  for  All— Gravel.  Wall  or  Concrete  Building  .  1  50 

Chart  of  Physiognomy  for  Framing, .  25 

Family  Dentist.  Dr.  Warren.  Illustrated, .  1  50 

Phrenological  Bust,  [by  Express,]  Small,  $1.  Large  2  00 

Electrical  Phychology — Lectures, .  1  50 

Movement  Cure.  Illustrated.  Dr.  Taylor, .  1  75 

Conversion  of  St.  Paul.  By  Rev.  Dr.  Geer, .  1  00 

Man  and  Woman.  Their  Mutual  Dependence _  1  00 

Thoughts  for  Young  Men  and  Womefi, .  1  00 

Carriage  Painters’  Manual.  Gardner .  1  00 

How  to  Paint.  Same.  Full  Instruction, .  100 

Digestion  and  Dyspepsia.  Right  Treatment.  Trail,  1  00 
Hydropathic  Encyclopedia,  complete.  300  illus¬ 
trations,  best.  Trail .  4  50 

The  Model  Potato.  How  to  Grow  it,  Cook  it,  etc.  50 


For  new  “  Special  List,”  of  the  best  Private  Medical 
Works  — for  those  who  need  them,  send  stamp. 

Copies  of  these  Books  sent  free,  first  post,  on  receipt 
of  price,  hy  S.  R.  Wells,  389  Broadway,  New  York. 


Vol.ir.\  TKE  [1874. 

Science  of  Health 


An  Independent  Journal,  not  the  organ  of 
any  person  or  institution,  but  an  earnest  teacher  of 
the  Laws  of  Life  and  Health,  which  includes  all  that 
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Household  Department. — Healthful  Cook¬ 
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